Reviews | ||
muse.ie - Come On Up To The House - Dec 1999
From the sweet nursery rhymes of The Frames' "Star Star **" to Dave Cleary's cinematic shuffles as Deasy Mooneye, "Come On Up To The House" feels as good as a long stretch first thing in the morning. Jubilee Allstars' "Evening Brings Me Home" seems to come straight from creaking rocking chairs on sticky Memphis nights while the quiet pop of David Kitt's "Song From Hope St (Brooklyn, NY)" secures his position as the singer/songwriter it's OK to like. The modest beauty of charming little Jubilee Allstar Barry McCormack's "After This Low" alone makes this CD worth a purchase. Add to that the Super 8 elegance of Daragh McDonagh's video for "Star Star **" and "Come On Up To The House" is the perfect record to ease us out of warm beds and keep us toasty all day long. Cat Hughes
"Come On Up To The House EP"
To coincide with the tour a limited edition Mini album was available at the gigs featuring The Frames, Jubilee Allstars, the debut of David Kitt, Barry McCormack & Friends, and Dave Cleary, and also including the brand new video for The Frames track "Star, Star"). The Frames released their third and most acclaimed album 'Dance The Devil..' in June of this year. Dance The Devil... Of course, it's taken Glen Hansard and co. a while to get here, from the Nick Drake-meets-The-Pixies joyous noise of their 1992 debut Another Love Song, through the almost Zeppelin-esque plains of Fitzcarraldo three years later, to the I Am The Magic Hand EP of a few months agoŠbut at last, this is The Frames at their most evolved harnessing the acclaimed kinetic energy of their live shows and converting it into recorded sound. The Frames continue to sell out pretty much every gig they play in Ireland.
Zeitgeist Magazine - "Big Gig @ The Lobby" December 9 1999 The Frames, Jubilee Allstars, David Kitt, Dave Cleary
The Frames
THE LOBBY BAR, CORK FRI 17TH DECEMBER. ADVANCE TICKETS FROM THE VENUE, 021 311113 To coincide with the tour a limited edition EP will be available at the gigs ONLY (featuring The Frames, Jubilee Allstars, David Kitt, Barry McCormack & Friends, and Dave Cleary, and also including the brand new video for The Frames track "Star, Star").
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ZTT Records - The Organisation Of Pop
The Frames. 8 years old. 8 years of Dublin. 8 years of touring America, Europe, The East. 6 record companies. 4 managers. Many big loans. A hundred songs. No press. Several departures. Several new recruits. A third album. Following on from their debut (Another Love Song) and their second album (Fitzcarraldo), Dance The Devil sees The Frames return to the familiar terrain of passion, revelation, defence, and monumental love. Added to this Alfredo also sees the introduction of some new lessons from the road, those of patience, humility, belonging, a quiet sense of humour and a more intimate love. In short this is an album about a band travelling the one way road between being 20 and being 30. Music detailing the benefits of hindsight and the pain of fatigue, the time lost and the independence earned. Written and recorded in France, England and Ireland over the last two years, Dance The Devil is, as with their previous outings, a self penned and packaged release and (with the exception of the Trevor Horn production of God Bless Mom) has the distinction of being The Frames first self produced album. The core foursome if David Odlum, Colm Mac Con lomaire, Glen Hansard and Joe Doyle remain, with contributions from ex - Frames Paul Brennan, Therapy's Graham Hopkins and all the way from Dallas, Texas, Mr. Earl Harvin - all on drums. Also chipping in were Dublin chanteuse Nina Hynes and some barking guitar from dEUS' Craig Ward. Some new instrumentation too, with everything from harmoniums and vibraphones to location recordings and Dictaphone solos making their way into the mix. Added to this, their frequent gigging and tours, re-enforcing a reputation as Ireland's strongest live act, with a dedicated following, The Frames are currently feeling very strong and proud of their music. With stomping paeans to unsung heroes (Stars are Underground, God Bless Mom), sweet tributes to friends ( Neath the Beeches), songs of hunger and fatigue (Perfect Opening Line), songs of strength and wonder (7 Day Mile) and songs of healing (Dance The Devil), The Frames have come a long distance and have arrived.
muse.ie - "Dance The Devil"
The Frames - Dance The Devil (ZTT) It has been a long and sometimes strange trip for Glen Hansard and his cohorts. The distance from 1990's high-speed hurly-gurly incarnation to the fascinating sounds which are present throughout this album is immense, yet it's a journey which makes a lot of sense if you think about it. While The Frames may not be or have been to everyone's taste, one thing Glen Hansard could never be accused of doing is simply jogging on the spot. While many would (and indeed have) sought to profit by association with their past, Hansard has continuously taken the Frames to another plateau, and "Dance The Devil" is the soundtrack for our first spin round the current place they call home. It would be churlish to say that the Frames have discovered lo-fi and leave it at that. Sure, the sensibilities that mark records from the likes of Slint, Smog, Pavement and (largely) Will Oldham have been adapted to Hansard's muse. But a track like recent single "Pavement Tune" has far more meat and weight in a pop sense than anything that you'll encounter from the lo-fi underground. Hansard's strength is still his observations as a songwriter and these, married to a more muscular sound, are the stuff on which a future can be built. Tracks like "Seven Day Mile" and the title track contain the germ for what may well come in time. It's down to the band more than anyone else to ensure that these steps lead somewhere other than another year in Dublin. On this showing, they certainly deserve to keep moving. Jim Carroll
freeserve - "Dance The Devil"
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Monkey House Film Productions - 1998 HOT PRESS - PRESS REVIEWS FOR THE STARS ARE UNDERGROUNDAUGUST 21 1996 "Taking his lead from John T. Davis' fly-on-the-wall look at the Northern Ireland punk scene, Shell Shock Rock, producer Daragh McCarthy has used a combination of beta, 16mm and super 8 to convey the excitement of a scene which he believes to be "the equal of anything that's going on at the moment in the UK. What I admire about these bands is that they're willing to do things for themselves," he continues. "Rather than moaning about on one wanting to sign them, they're arranging their own gigs, making their own records and generally bypassing the established Irish music industry." Mexican Pets, Pet Lamb, Female Hercules, Cruiser, Tension, Wormhole, and Jubilee all star in the documentary, which McCarthy hopes will come to the attention of someone in the RTE acquisitions department. "At the moment," he reveals, "we've got screenings coming up at the Galway film Fleadh and the Manchester international short film festival but ultimately I'd like to get it on TV where I think it would work very well." The stars are underground" isn't McCarthy's only foray into the world of music - his Monkeyhouse production company are currently filming the mother of all road documentaries for Ash." BRIAN BOYD, IRISH TIMES
AUGUST 16TH, 1996 "The stars are underground" is a pretty damn good docu-pic about the lo-fi slacker punk grunge alterno-rock "scene" in Dublin. Produced, directed and everything else by Daragh McCarthy (who's currently working on an Ash world tour documentary), it's a fascinating insight into the world of indie-labels like dead elvis and blunt and the bands on their roster - a sort of Shell Shock Rock of its time."
Sorted Magazine - "Dance The Devil" "Every review about the Frames mentions their popularity at home and their failure to make it abroad. Comparisons are made with their Belgian buddies dEUS, and the amount of appeal they have in indie circles as opposed to the Frames. But that ignores one thing, the Frames are a brilliant band. Especially live. A few years ago I went to see them support dEUS in the Mean Fiddler and they failed to impress. Every other time they've been amazing. The songs are eroded to the essentials as Glen Hansard bares his soul, laments the intricacies of life and mourns for lost love. However, the emotional resonance that they exhibit in vast quantities live is not fully replicated here. The album's reviews have been enthusiastic but that's partly because most of the journalists haven't seen them live, which is an altogether more powerful experience. The main album fault lies in their decision to alter songs that were practically perfect, 'star star**' being the obvious example. It's still a fantastic song, but the live version is better. The group has been complaining about the amount of influence the record company had on the final product so perhaps this is where such tampering is most obvious. The final product however is still infinitely better than the vast majority of commercially hyped rubbish that will find its way onto your stereo this year. Buy it now." Neil Callanan
Live review by Sorted Magazine.
Eclectic
Honey - "Dance The Devil" But the album also shows a gentler side to the Frames and their lyric writing development. In Star Star we have one of the most beautiful songs that the band has ever written and you really do believe Glen when he pleads "Star, star teach me how to shine, shine, teach me so I know what's going on in your mind" with aching vocals filled with hope and despair at the same time. The album passes through many moments of emotion as glen compares his life to being on a plateau , a feeling that has been and will be experienced by many. This album contains some of the band's finest songwriting moments and tracks like Plateau and Star Star are amongst the best that will be released this year. The Frames have always been the one band to give Irish music fans hope over the past few years. When the British rock critics have slated Ireland for being the land of pop, we were able to smugly laugh at them, as they had not yet discovered the true songwriting and musical talent of the frames. And they have missed out on so much. Every so often a short 80 word review may manage to squeeze itself into the reviews pages of the NME or the Melody maker, and it probably goes unread by the many who glance through the pages, but maybe that's OK because afterall "The stars are underground" and sometimes the trouble of discovering a new band makes the victory all that sweeter. The album also shows where the influences have come from with the second single aptly named "Pavement Tune" and sounding a little like something that American rockers pavement might create themselves. The tense Hollocaine and anthemic Rent Day Blues add balance to the record, and make it a very accomplished and complete work. This could well turn out to be one of those albums that does not receive its just desserts until years later, when people will be citing it as the Irish album of the 1990's. This album is not just a record made by one of the few Irish bands to rise above the mediocre status, but rather it gives Irish people an identity to hang on to amongst the Welsh rise of the manics, stereophonics and SFA, The Scottish triumph of Travis and B&S, and the English triumph of Oasis and Radiohead, otherwise we might just get "lost in the mush". Perhaps the greatest triumph of the frames is that they have never stopped developing their sound, and still they are simple, honest songwriters. The Frames offer no gimmicks or special effects, just 100% of themselves for 50 minutes. The album finishes with such an uplifting and optimistic track that you really wish the album hadn't ended quite so soon as Glen sings "And you can dance, dance the poison right out of your soul, and we can dance, dance the devil back into his hole,….". Michelle Dalton
UBL.com - "Dance The Devil"
Songs like "Pavement Tune" are catchy and focused, making this collection their best to date. Heather Phares, All-Music Guide
Irish Music Net - Features - November 1998
No longer dogged by his role in The Commitments, Hansard might have flourished in songwriting terms since then, but his commercial cachet still leaves a lot to be desired. Record company problems (his band The Frames released an extremely good album, Fitzcarraldo, on ZTT) haven't helped him either, but he's a strong songwriter with a distinctly lyrical touch. Overlooked, but not unbowed, Hansard might just surprise us all. Tony Clayton-Lea
UBL.com - "Dance The Devil"
Dublin, Ireland rockers the Frames D.C. were led by singer Glen Hansard, who quit school at age 13 to begin busking on the streets near his family's home. After pressing 50 copies of a demo tape four years later, he was soon approached by Island Records exec Danny Cordell and signed to the label, but was dropped after releasing just one album, 1992's Another Love Song. Reeling from disappointment, Hansard decamped to New York City before returning to Dublin to reform the Frames with guitarist David Odlum, bassist Graham Downey, violinist Colm Mac Con Iomaire and drummer Paul Brennan; signing to ZTT, the group released Fitzcarraldo in 1996. Dance the Devil followed in mid-1999. Chuck Donkers, All-Music Guide
Miscellaneous reviews - "Fitzcarraldo"
The Frames superb album "Fitzcarraldo" is available in record stores worldwide. Here's what the music press have to say about "Fitzcarraldo": "The real genius of The Frames lies in their effective balance of musical prowess and passionate lyrics. The words can stand on their own, but it is the skill of the musicians which brings them to life" Paula Vayas - Bulletin "The Frames DC specialise in glorious rock with an original and often off the wall slant" Evening Express "Raw, rocky and unfashionably for real, this lot are undoubtedly going to be a force to be reckoned with." David Sinclair - The Times "For me, the album of the year was not a brand new shiny CD by fresh-faced upstarts with as much ego as talent. It was the remixed, repackaged and rejuvenated Fitzcarraldo by the Frames, which again went relatively un-noticed by the world in general." Hot Press "Raw, rocky and for real, this lot are undoubtedly going to be a force to be reckoned with." London Times
Internet - Ciaran Flynn 1996 was the year that Radiohead played in CastleGar in Galway, the year that Oasis became superstars (for whatever reason), Manic Street Preachers released their comeback, A design for life, Alanis released Jagged Little Pill (One hit Wonder), The Fugees, Mundy released Jelly Legs, The Plague Monkeys claimed their entrance to fame with "The Plague Monkeys", moshing and crowd surfing are made illegal in Ireland and The Frames released Fitzcarraldo. The debut plastic novel from the Dublin writers - The Frames DC. Little was known about the band at that time. I heard a rumour that Glen from The Frames DC had appeared on Alan Parker's film, the Commitments. I first heard Revelate in or around the same time. I was impressed to the point that I believed in a long prosperous future for the band. The anthem track rung out in my head for weeks after I first heard it. The earliest memory I have of the band is singing Revelate to myself on The Big Day Out in Galway (the Radiohead Gig), but knew very little about them. On Halloween night 1996 my life would change, to confirm my suspicion that this band might just be the best band that Ireland has to be proud of, I saw The Frames DC live in the Canteen of my Uni Campus. It was a mental night, I was entranced and stoned on great original sounds and the thirst for individuality - inspired by one of the best bands that ever performed. It was only then that I had realised that there are perhaps millions of great bands with great sounds out there but I have not had the opportunity to hear them, I regarded myself as being lucky that I had seen this packet of alternative harmonies. The gig went great though I had been a little anxious to hear Revelate once again. Eventually, after about two hours of genius home grown indigenous talent, I heard the intro to Today by The Smashing Pumpkins and knew that Revelate was on the next carriage. After two lines of Today they broke into Revelate and excited the crowd to the point of frenzy and absolute chaos. We were not alone, Glen forced his Telecaster through the suspended ceiling and dived into the crowd in a rage of freedom. Although he fucked up the ceiling, we loved him for it. We were liberated and exposed by the power of the band's music. When you first listen to the album you will probably notice the delicate sounds generated from the violin. A lot has to be said for the band's ability to release an amazingly cool alternative album built from the roots of Irish influence without giving into commercialism and all of the trappings that go with it. The violin rings throughout the music and reminds us that The Frames DC are essentially an Irish band playing essentially raw Irish music. Angel at my table is genius, as is Evergreen but the best songs on the album has got to be, in my opinion, the title track, Fitzcarraldo, Red Cord and If you have something to say (then say it to me now). I was excited by the band and imagined a very luminous future of success and the will and right to do as this band pleased, they could do no wrong. I heard very little of the band after that but did happen to see them playing on No Disco with an acoustic set, a few months later I saw them on Donal Lunny's show, SULT - Spirit of the music. This program traces back to the roots of Irish music and has a lot of traditional guest on board. They appeared unplugged and played Revelate with a few other musicians that were on the set - I loved it!!!
Internet - Ciaran Flynn CUBA live session room in Galway - October 1998In October 1998 I went to see The Frames DC in CUBA live session room in Galway. This is and amazingly intimate venue check it out sometime. A few hundred could get tickets to the gig. I was standing back in the crowd while the night rolled on, listening to Garbage. Then just before the band made it to the stage I got up close. So close that I was on the stage for the gig. Moshing and crowd surfing were made illegal in Ireland in 1996. This did not stop us and neither did the crowd control unit at the gig. Fuck all that shit - we were having a good time and forgot about life outside of the music. We were on that roller coaster ride towards our own individual heavens. The buzz factor was at a serious all time high and the greatest night out in the history of time had been experienced. We observed and indulged in some of the new sounds from the band that had already brought us liberation and a good night out. These new sounds were raw and great - and best served loudly. Examples of the rawness include: Glens strap became undone during Monument but continued to play, holding onto that guitar with everything he had but there was more - he played it over his head while trying to get the strap around and played with one hand while fixing the strap. A string breaks but he continues and after the extended version of the song he addresses the crowd and asks someone to replace his string. The Frames DC are not trying to be famous or rich, well maybe rich but certainly not famous. They might love the local centralised fame in Ireland but they realise that to be famous in their business involves a huge cost - "you must sell your soul". This will not happen to The Frames. They are not concerned with the number one slot in the charts and genuinely respect their fans. I spoke with Glen after the gig and he was so grateful that he was realising his dream and we were helping him do it. We love their music and their attitude. I respect and admire the entire band for their commitment to being themselves in a world of tempting offers and a propensity towards commercialism. I think that the Frames would enjoy being rich from doing what they do now and famous for changing the music industry. It is great to see the following that the Frames have at the moment. Expect the new sounds out sometime in early 1999. "Some bands like to be successful and on Top of the Pops and I think that's a lot of shit, we are the Frames and we like to do whatever we want. We want to have fun. This venue is the best venue I have seen or played in, it's nice and close and the stage is low - thank you for coming to see us we appreciate it…"
Internet - Ciaran Flynn CUBA LIVE GALWAYFebruary 18 1999t was to be one of those great nights again, a night with the Frames DC here in Galway. From early that evening and indeed many evenings before the gig I waited in hope that I would meet Glen Hansard. Here is possibly the most credible Irish musician of our time. Here is a man with a dream and the will to see it through. Here is a man with a passion. Here is a man with a new 5 track EP, I am the Magic Hand, in Galway with a beat up Telecaster and a great sound. Here is a man with ambition, promise and in pursuit of a great night on the stage. Here is a band of young men gracing the city tonight with what is the most important sound from the Irish to the Irish.
I AM THE MAGIC HAND All of the bands Anthem tracks were played tonight backed up by the new sounds, some of which have not even been heard yet. The band brought with them their long awaited EP, I am the magic Hand. This delightfully mellow arrangement of mature and brilliantly conceived ideas are presented in a frames dc sort of way. Upon hearing the album you wonder if it can get much better. For me, The Stars Are Underground (Track 4 on EP), is the most soulful example of how serious the Frames DC are about creating the music that is beginning to change the Irish Rock scene. The Frames have always been well respected but now this EP places them on another more reverent level. The gig was all that was expected of the band and more! The band always give it 200% and ensure that they do not fail as being the most influential rock band in Ireland today. Perhaps every young boy dreams of someday being in a rock group but few of us ever see the dream unfold into a successful carrier. The routine now is to go to school and stay there for a long as you can and go as far as you can up the "learning ladder" as this allows us to be "better off" at the end of the day. But nobody wants that though we persist and persevere and dare not slip off from this already set path which we feel obliged to take. For Glen Hansard, that was too easy. If anything he is to be envied as being one of the lucky people who knew their purpose in life from a very early age. I wish him all the very best and eagerly await the release of new material.
Irish Times - August 20 1999 "The Frames, are tonight on the second concert of their three night stand at Whelan's. Gig of the day. Definitely. If they can reproduce the shimmering greatness of their current album, Dance The Devil, then this is going to be one to tell the grandchildren about." Pádraig Collins
Irish Music Net - "I Am The Magic Hand" February 1999
Harry Guerin
Musicmatch.com - Another Love Song
Jason Nickey, All Music Guide | ||
Wherever you are right now, I'm guessing you're cold. We've packed away the decorations for another year, swept up the last of our New Year debris and what have we got to look forward to for the next couple of months? Stepping in puddles, slipping on ice and runny noses. But all's not bleak. Back from their jaunt around Ireland entertaining the masses, The Frames and the rest of their travelling circus (Jubilee Allstars, David Kitt and Dave Cleary) have kindly put together a CD to keep us cosy. And a gentle affair it is too.
Dance
The Devil...
"Having paid their dues to raggle taggle and overblown rock, The Frames DC have at last found their niche - and in some style. This, a five-track taster of their forthcoming album, shows that the years of hard knocks have improved their songwriting immeasurably. With a stripped sound, low-key arrangements and all manner of vocal effects, they've produced a beguiling mix of breathless indie and gentle country. Their dusty Stetson epic, Song For Paul, is a delicious slice of off-kilter Americana, while the spaced out beauty of Turbit is something they could never have imagined let alone tried five years ago. Glorious."
"The Frames were signed to recording contract before they were really even a band. So, as one might expect, their debut album is a little uneven and scattered; they had yet to find their voice as a band, and at times they appear to be struggling to capture some of the grand, stadium-rocking bombast of U2. Even so, Another Love Song displays a raw energy and a potential that is undeniable, especially on songs like the album-opening "The Dancer" and "Masquerade." Elsewhere, on "Downhill From Here? and "Picture of Love," the band shows the kind of low-key, atmospheric vibe that would characterize later albums. Not the best place to start an exploration of this constantly evolving band -- that would be have to be For the Birds, released almost a decade later -- but worth checking out if it can be found (as of early 2002, Another Love Song remains out of print)."
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