Ben Folds Five, the piano-based trio (not quintet) known as
much for manic, potty-mouthed thrash-fests like "Song for the Dumped" as for
sensitive ballads like hit single "Brick," are set to release Sound of the Life of the Mind -- their first
album in more than a decade -- on September 18.
Ben Folds, the group's irrepressible leader, has spent the years since
the band disbanded in 2000 playing solo, with a capella groups and symphony
orchestras, as well as judging on NBC's The
Sing-Off. He took a some time from his hectic touring schedule and making
Fraggle videos
to chat on the phone with PAPERMAG.
Chick-Fil-A has been
in the news lately due to their stance on gay rights, and the public's response
to said position. You sing about the place in "Army." Did you really work
there?
No. I thought Chick-Fil-A was just a good, trashy, funny
place to put in a lyric. I worked at Hardee's. But I could have easily worked
at Chick-Fil-A instead.
What's your take on
the controversy surrounding them?
Well, I think they're really mean to chickens. I take offense
to that, and I wouldn't eat that shit for all the money in the world.
It doesn't surprise me if any company steps across the line.
That, I think, is their right. It is also my right to say they're a bunch of
fucking assholes, you know? Maybe I'm wrong. Maybe they're nice people. But
it's my right; I can say that if I want to. It's their right to take the stands
that they take. But is it right? [Laughs].
The other thing that I think about is that we don't have
time to really take on every issue we'd like to. It strikes me as really
interesting what people decide to just go nuts over all of a sudden. Because I
would have gone nuts over what they did with chickens, but no one seemed to
care about that. And then they actively oppose gay people's rights, and that's
horrible, too. But they're not rolling them in their own shit, driving them
around scared in a van before they kill them pumped up on hormones, and that's
what they do to chickens.
So I don't know. I don't have much interest in a trashy
company like that in the first place. I think they have an awesome name, and
it's good for my song, you know?
You guys are among
many '90s bands to come back lately. What did you like about that era?
I have bands that I really love. I'm always happy if Liz
Phair makes a new record. I was always happy if Rage Against the Machine made a
record. Sebadoh would be cool. Pavement, Built to Spill -- I mean, there were
great bands in that era. What I liked about the '90s is that it was an era
where the bands actually had a sound when they started to play, even before the
singer came in. It's organic; it comes out of the hands.
Is there anything
you're hoping stays trapped in the '90s and never returns?
Well, most of it; but I think it's safe to say that's
happened already. That happens in all eras. You hear people do throwbacks to an
era, and we're far and away in a time of recapitulation and revisiting. It's
like the '80s. There's this overarching sound to the '80s that will never come
back. It was the main thing, and it's just so horrible. No one, even
ironically, is going to do that shit. When people say: "I made an '80s record,"
part of me thinks I'd be really interested if they actually did, like, Dirty Dancing-soundtrack '80s. What kind
of a hipster would it take to actually pull that shit off? That would be really
funny.
The new album has its
fair share of classic Ben Folds Five harmonies. Are you inspired to write
differently because you're working with Robert Sledge and Darren Jessee again?
I know what's available. I know that Robert's a violin and
Darren's a viola. That's the way I've always thought about it. They have such
unique tambours in their voices, and we've always sounded a certain way
together. I think one way I tend to arrange with Robert and Darren that I don't
with others has to do with the way my voice becomes the harmony on vowels, and
that's kind of geeky and boring. But if I have a sustained note, and it's on a
nine, that's awesome--then, OK, I'm going to give Robert the fifth above, and
then Darren's going to come in, like, the seventh below, just for a second--and
it creates a really cool three-part harmony where it sounds as if there are
three people singing background vocals and one singing lead, when actually it's
only two singing background.
Why was this the
right time to get the band back together?
It just felt right at the moment. I don't think that we
really make decisions [Laughs]. These
days, I think people in general are so busy that the things we do are sort of
random. If you make a to-do list, you don't get to any of it anymore. Nobody
does. Because if you're lucky enough to be working, you're getting paid half of
what you used to get paid, and you're working twice as much as you ever thought
you could. I think that's the way it works with the band. If we all hadn't been
free on the same day to talk on the telephone about coming to the studio, the
record might not have even happened.
Where did the album
title come from?
That's the title of the song Nick Hornby wrote. Nick's a
writer, so I figured that his title was probably going to be better than mine.
Does it mean
something to you? Or did you just think, "heck, this sounds pretty cool?"
I think I thought it sounded pretty cool. [Laughs]. It's long enough to command
some sort of -- like, I don't know, it must be important, it's got fucking 20
words in it.
But I also think there's something to it. The album is a
little bit about the stripping of the ego; the story that one has acquired over
a lifetime that you suddenly realize you have to get rid of if you're going to
survive. That's a real 40-year-old thought.
I put it together with the album
cover, which is by an artist I've always wanted to work with [Eric Joyner]. I
was always drawn to the solitude of his robots. They're all going through the
same things I feel like I'm going through when I look at his paintings, and his
submerged painting of the robot really reflected The Sound of the Life of the Mind. It's all in your mind. It's all
there. When I see that title and see the album cover and I hear the strains of
the music, it all seems right to me. We're really making this record by feel
completely, so I don't know. Maybe there's no reason for it, but it feels like
there is.
So sometimes you feel like an underwater robot?
I do! I do! I mean, don't you? I
totally do. Like, you just feel like an underwater robot.
Photo by Autumn de Wilde
(L-R): Robert Sledge, Ben Folds, Darren Jessee.