Winsome pop and orchestral gymnastics

While musical opinion is often relative to taste, musical ability/understanding, etc., there is almost always great appreciation to see a musician grow in ability, style and overall execution. This is especially true when a musician or group is able to consistently produce albums that demonstrate a new direction and expertise. Ben Folds is an excellent example of a musician with an innate ardor for pushing his personal limits to new heights that often bring loyal listeners up with him.

Such is the case with So There, the latest album by Ben Folds, which will be released on September 11th, 2015. Folds is notable for his diverse musical endeavors, including work on soundtracks, judging the popular singing competition show “The Sing Off,” producing other artist’s albums, all while pursuing his own work. But what makes this album stand out is Folds’ unique accompaniments – yMusic Ensemble and the Nashville Symphony Orchestra

For the first half of the album, Folds has the exceptionally talented yMusic Ensemble play on what can be considered his “chamber pop” songs. This entails the first eight tracks. The pairing is quite well-matched, the energy of the two groups is congenial, often resulting in winsome songs of both musical talent and enjoyability.

The first track is “Capable of Anything,” a song about the after-effects of a dour relationship, but the music itself seems to tell a more playful story. The song moves like a lost, albeit poppier track by Sufjan Stevens with vocals by Folds instead. Flutes flutter throughout in gorgeous display, the piano moves jauntily under Folds’ buttery vocals. The drums dance about in a disco-like fashion on occasion, although the song is never tethered to one genre. The song transforms from pop to complicated orchestral executions effortlessly. It’s a tremendously dynamic introduction to what the rest of the album has in store.

The next track, “Not A Fan,” a much more somber number, starts like a Chopin piece. Chords that are soothing and sometimes jarring end up relaxing the mind, despite the overall attitude of the Folds’ lyrics.

“So There,” the title track, ends in spectacular fashion with both Fold’s exceptional finger dexterity and creative arpeggiated melodies and the frenetic movement of various strings and flutes. Folds has the know-how and talent to stun and draw in listeners. If there’s at least one track to showcase the album it would be “So There,” aptly titled by Folds.

Each track is chalk-full of unique moments that render the listener both baffled and entertained at the same time. As a whole the album is disarmingly charming with exceptional musical vigor from start to finish. However, the most obvious issue is that the album seems to almost be a double album – the tracks with yMusic Ensemble and then the Piano Concerto with the Nashville Symphony Orchestra. That being said, there are some similar musical ideas that these two “parts” share.

Not everyone is a fan of albums that contain essentially more than one concept at a time. Tom Waits’ Beggars, Brawlers, and Bastards comes to mind, or Punch Brothers, The Blind Leaving the Blind. Yet that’s the case with So There. While the album is gorgeous from start to finish, it’s hard to divide the album in two. The album is singlets and then a three-part piano concerto with orchestra. All are stunning and even lively on occasion, but the album and movements would be stronger separated. The movement almost seems to be filler for an album with not enough songs.

Overall, So There is one of those albums where the artist turns a dark spot in his life into an enriching, rewarding experience for listeners. Without a shadow of a doubt, old and new listeners to Folds will be pleased and eager to see live renditions of these tracks as they are promising, engaging, and ultimately alive – so there.