Album Review: Glen Hansard - It Was A Triumph We Once Proposed
It’s only fitting, then, I suppose, that this Glen Hansard
tribute to Jason Molina arrived on the second anniversary of Molina’s passing.
I suppose that the release date was timed to coincide with that, but it’s
something that I didn’t put together until I was midway through my second
listen of the EP, It Was a Triumph We
Once Proposed.
Hansard’s relationship with Molina was well documented—he
first wrote Molina a fan letter, and then later, Hansard’s The Frames and
Molina’s Songs: Ohia began to play shows in Ireland together, and went on to
release a split 7” single.
I used to fuck pretty hard with all things Hansard. I first
discovered his band The Frames over a decade ago when I watched open for (and
subsequently upstage) fellow Irishman Damien Rice at a theatre in Madison, WI.
Cut to about three years later, when Hansard’s profile began
to rise with a little film called Once—a
parable of sorts about a guy and a girl who form a musical relationship, and
there’s all kind of “will they or won’t they” throughout the running time (they
don’t.) But because it’s musical, the song “Falling Slowly” won an Oscar, and
then, as Drake would say, Nothing Was The Same.
Hansard, in a sense, forsook The Frames, with their final
album The Cost, having arrived in
2006. “Falling Slowly” itself was originally a song he performed with a
supposed one-off project, The Swell Season, formed with his Once co-star (and eventual girlfriend Marketa Irglova.) In a
post-Academy Award world, with all eyes on Hansard, he formed a “heavier”
version of the once sparse Swell Season, by incorporating a “lighter” version
of The Frames as his and Irglova’s backing band.
And after The Swell Season’s tepid 2009 LP, I haven’t really
paid a ton of attention to what he’s been doing.
The last time I checked, he dropped a solo album a few years
back (I didn’t listen to it) and he still tours on his name recognition,
coasting on the goodwill of NPR audiences that will shell out $40+ to see him,
and only know of him thanks to the Oscar win.
But I’m digressing here.
Anyway, Hansard announced a while ago that he was releasing
this EP, and I was skeptical at first. Mostly because every Molina “tribute” up
until this point has been questionable at best—and some of them have been flat
out unlistenable. But with the announcement, the EP’s first track, “Being In
Love,” was shared, and it made me a believer. I couldn’t get my wallet out fast
enough to pre-order.
A lean five songs, It
Was A Triumph We Once Proposed is, in a sense, yet another fan letter to
Molina, sent out into the ether. In the Consequence of Sound review of this EP
last week, writer Dusty Henry said it was a “final” fan letter. I can say with
confidence that Hansard and his band of players (many of which were in Molina’s
Songs: Ohia and Magnolia Electric Company) do these songs justice. That’s the
real fear with “tributes” or cover collections—if you don’t change it enough,
what’s the point? But if you change it too much, it becomes unrecognizable and
intolerable. Hansard does just enough, not quite reaching the
levels of angst he found as a young man with The Frames, and not quite reaching
the depths of desperation written within Molina’s originals.
It’s a refreshing experiment that pays off, allowing the
listener to hear songs that they know (and in my case, treasure) treated well
through more than capable hands.
The only flaw with Triumph
is that it’s entirely too short. I understand not wanting to overstay your
welcome with a project like this, but it’s almost like “here’s your hat, what
your hurry?” And with only five songs, Hansard has barely built up the momentum
of the EP by the fourth track, “Vanquisher,” before he brings it down to a
whisper with “White Sulfur.” Structurally, however, this works.
It opens strong with Hansard’s powerful, and almost
uplifting take on the originally ramshackle “Being In Love,” before settling
into two songs from Molina’s most beloved Magnolia
Electric Company album—the bittersweet “Hold On, Magnolia,” and the album’s
unhinged stomping opener, “Farewell Transmission.”
What’s interesting about Hansard’s take on “Farewell
Transmission” is that while he, himself, can be incredibly unhinged (e.g. The
Frames), he practices an enormous amount of restraint with the song, keeping it
that way until he almost creates an indirect tension for the listener who just
keeps WAITING for the song to explode—which it doesn’t, but it also doesn’t
fizzle out either. It’s a mature take on the track, looking at it from the eyes
of a performer who has spent over 25 years howling, and is now old enough to
know he doesn’t have to do that all of the time.
For me, Triumph,
is in a sense, a triumph. It’s also a reprieve for Hansard as a performer, as I
sit waiting for news of a new Frames album. I don’t hold my breath, but I still
hope. This is one of those tributes that is great because it keeps the flame or
the original artist alive for the fans, but it also may introduce new listeners
to a songwriter they were not familiar with. To the casual Glen Hansard fan,
who has one or two songs they heard on “All Things Considered” on their iPod,
this may, hopefully, open a door to better and more critical listening with a
Jason Molina record.
And for the once loyal Hansard devotee, this is a reminder
that even though he’s spent a number of years in misstep, he is still a
tremendous talent.
It Was A Triumph We Once Proposed is out now on CD via Overcoat.
It Was A Triumph We Once Proposed is out now on CD via Overcoat.
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