Reviews | ||
"For The Birds" - Musicmatch.com
"For The Birds" - CDNow.com
"Lay Me Down" - Hot Press
THE FRAMES: FOR THE BIRDS
For the Birds
THE FRAMES: FOR THE BIRDS
"This might take a while to figure out, now... how a record like this actually works... seeping into the consciousness like a slow fever, the songs as familiar and yet unfeasibly slippery as the individual listener's intimate memories. 'For The Birds' is like a book of old photographs, where the images contained within are too personal to be opened in public. On first listen it sends out a fragile invitation. After a few listen-throughs, that fragility gives way to warm intrigue - the trumpeting majesty of 'So What Happens...' quieting to the lush, romantic sway of 'Headlong': climbing then to the great redeemer that is 'The Early Bird'. 'Santa Maria' canters into the fray with a deceptively easy dub-style bass-line, Hansard's vocal a heartscalding near-whisper 'why did you have to burn?' Deceptive because of the scarred metal coda -a chime of guitars that intuitively expresses the untimely denouement of its subject, the painter Egon Schiele, from Spanish Influenza in all its passion and pain; anguish and ecstasy - a precise enigma of a song."
witnness.com - Witnness Rising 10.30pm
Biography
Where's The Craic - Witnness 2001
James Malone
Where's The Craic "...The Alice Band were next and suffered from the cold rain and an unfamiliar crowd. Glen Hansard then single-handedly managed to rock the park with just an acoustic guitar. If you've ever seen this guy solo before you'll know how much power he's capable of producing." Pius Meagher
Where's The Craic
There are many ways to spend your bank holiday weekend in Ireland, one of them would be to visit Kilkenny for the excellent Comedy festival. Another would be to head for cork and the Heineken weekender. There is always the old reliable (?) nightclub scene in Dublin. However I choose to see The Frames @ Vicar Street. They say hindsight is a great thing but let me tell you that this was a very wise decision as this was one of the best gigs I’ve seen in a long while.
The Frames are unique in that they seem to invite bands up on stage just at the climax of their show, this time it was the turn of Dublin band Sack, who did quite well. Adrian Lanigan
Where's The Craic
What was expected to be a small intimate gig with Glen Hansard turned into an acoustic dream. As a weekly event the music club provides music lovers and musicians alike the opportunity to indulge and partake in music. First up was Kilkenny based Steve Murphy followed by Tony Cleere, Tom Bolger and Eamon O`Connor. Glen Hansard accompanied by Mic Christopher and Josh Ritter followed these regulars to the music club. Paddy Casey also stopped by to complete the set. This was one of those gigs where music fans along with the musicians created a magical atmosphere. For the entire duration of the gig you could hear a pin drop. James Malone
Where's The Craic - A Wee Night For Uaneen
Amongst some of the most memorable moments were David Kitt accompanied by ten year old brother Robbie who sang "Another Love Song". On entering the stage young Robbie was faced with the crowd chanting his name, which he took in his stride. Wilt performed "The One I Love" by R.E.M., which set the tone for numerous strange and interesting cover versions during the night. These included Gavin Friday singing Coldplays "Yellow" accompanied by piano and Paddy Casey with the Frames singing the Waterboys hit "The Whole Of The moon".
He summed up the feelings of the evening when on introducing 'Star, Star', he said ' This song is for a sleeping angel, goodbye and we look forward to meeting up with you on the other side.' James Malone
The Lobby, Cork - Glen Hansard
Venue: The Lobby On Tuesday night, March 6th, the Lobby (Union Quay) was certainly the place to be as Glen Hansard, front-man with Dublin indie outfit The Frames, played to a full house of eagerly awaiting fans. Support on this night was provided by Songs: Ohia, a critically acclaimed lo-fi US outfit, Chicago born Nad Navillus, aka Dan Sullivan, and Josh Ritter. The Lobby’s atmosphere nicely complements these kind of solo gigs, providing an aesthetically pleasing and intimate atmosphere. As Glen Hansard described it tonight, it is regarded by some as 'the best room in Ireland' for live music. First act up was Nad Navillus, whose style may be described as mellow, laid back and soulful folk music. One song which particularly illustrated this was 'Your Good Side', which also demonstrated his great rhythmical ability . Unfortunately Mr Navillus only graced us with his presence for a six song set, which I personally found rather disappointing as he had been billed as the main support act and no matter the reason it just seemed too short a set. Josh Ritter on the other hand was slightly more entertaining, although musically he was comparatively similar to Navillus. He conveyed through his lyrics and stage presence a great sense of humour. Songs such as 'Me and Jigs', which he claimed, to the amazement of the crowd, was written simply about 'throwing rocks back home in Idaho'. But by far his best song was 'What Makes the Stars Shine', a song which conveyed his strong sense of humour through its unlikely theme, the contrast between scientific jargon and the simple country way of life. The fact he was very enthusiastically applauded said it all. Finally the eagerly anticipated moment arrived. Yes, Glen Hansard casually manoeuvred himself towards the stage, to the roaring delight of the crowd. Before commencing his performance, Glen paid tribute to his support on the night, who he informed us did great things for The Frames in the States. The most noticeable aspect of Glen Hansard performance, besides his impressive talent for writing catchy, infectious pop/folk songs, was his on stage stand up comedy routine, which established a great rapport with the crowd. For example, tonight in the early part of his set Hansard informed us that the noise of the fan on the ceiling accompanied by the sound of rain water on the roof would cause him to be 'dying for a slash' mid way through the gig. Hansard really does have genuine stage presence and a sense of stage banter which does quickly dispels any ideas that he may be just another pretentious chancer up there for the chicks. Hansard's set list for the night featured mainly Frames material from their back-catalogue as well as songs from their new record (which is entitled 'For The Birds') such as 'Lay Me Down'. Glen demonstrated his affection for the all-too-common theme in music of doomed romance in 'Come Find Me'. He also showed off his ability for innovation as he gave us renditions of several songs which on the night featured Graham Coxon-style chainsaw guitar – most impressive. This coupled with his superb cover version of Van Morrison’s 'Astral Weeks' and his encore with Josh Ritter left the audience in no doubt that Glen Hansard is still a force to be reckoned with in Irish music.
High Point: Glen Hansard's 'Come Find Me'.
muse.ie - Icon
Lead Frame Glen Hansard on why Will Oldham (Palace Music/Palace Brothers/BONNIE PRINCE BILLY) is the man who does it for him every time.
Independent Sounds - "For The Birds" The Frames seem to find it impossible to write a bad song…. or album. They don’t just create really good songs, but ones that defy your expectations. There is something about every Frames song I’ve ever listened to that takes the melodies and rhythms and lyrics one step further than any other band. It’s hard to say what exactly gives the songs their intensity, but whatever it is, it’s consistent. ‘For The Birds’ is the bands latest musical offering and it’s got intensity by the bucket load. I suppose, when you think about it, there’s no real mystery to the band’s appeal. The Frames have the surprisingly rare combination of talented musicians playing accomplished songs and this Steve Albini produced album should be proof, to any who need it, that The Frames are one of the best bands to come out of Ireland. Ever. Most of the tracks on ‘For The Birds’ are what you might call ‘understated’, as there is an absence of heavy choruses or catchy riffs. There are some loud bits (and believe me, when it gets loud, it gets loud) and all the tracks are immediately engaging, but the album as a whole is distinctly different from its predecessor ‘Dance The Devil’ or, for that matter, from 1994’s ‘Fitzcarraldo’. The opening track, ‘In The Deep Shade’ kind of sets the tone. Soft and heart-meltingly melancholy, it’s impossible not to immediately get drawn into the album. The second track is called ‘Lay Me Down’ and somehow seems to be the perfect song to follow. A gritty drum rhythm introduces a simple folksy arrangement with twanging banjo and acoustic guitar strolling along against those distinctive vocals. ‘What Happens When the Heart Just Stops’ has a hymn-like quality that every song on this album possesses in some shape or form, and is followed by ‘Headlong’, a slow sweeping track with a superb string accompaniment and drums that sound as if they’ve been recorded in someone’s bathroom (that’s good, by the way). ‘Fighting On The stairs’ is up next with more banjos and a Casio keyboard style drum machine rhythm that compliments the organic quality of the song. Song six, ‘Giving Me Wings’ keeps it slow and simple and, just in case it might get predictable, is followed by a great big slice of organised noise in the shape of ‘Earlybird’, a huge stately affair with swirling melodies just about emerging over the din. And just when it’s going for the big climax it suddenly grinds to a halt and we’re plunged into the awful, awful ‘Friends And Foe’. It’s awful because it’s so fucking beautiful and it’s almost painful to have to sit and listen to such a simple, brilliant song. It’s the kind of track that requires a great big sigh after you’ve listened to it. ‘Santa Maria’, track nine is also pretty intense, but in a more enjoyably way. Starting off almost imperceptibly quietly it boasts a great bass line that could almost be described as catchy. ‘Disappointed’ is guaranteed to put a lump in the throat of even the most die hard Dr. Dre fan and ‘Mighty Sword’ is the perfect closer, dramatic not a little eerie and slightly better than should be possible. ‘For the Birds’ is some achievement from a band who are fully deserving of any praise they get and one has to wonder if it ever gets boring, being this good all the time. It’s an album not so much of anthems but of hymns because the sheer power each song simply transcends the confines of ‘normal’ music. You’re reading this and you don’t believe me so buy the album and hear for yourself. Give the band a few royalties. They all deserve Cadillacs and outdoor swimming pools anyway. Francis Heery
Where's The Craic - "For The Birds"
Release: For The Birds
The fourth album simply entitled "For The Birds" is an interesting and unexpected musical u-turn for the band. The album enlisted the production skills of Steve Albini who produced works for legends such as The Pixies and Nirvana. Albini's inclusion for me was the unexpected curve ball. I expected an album in line with songs like "Revelate" and "The stars are underground". So when I finally got to listen to their new works I was pleasantly and cautiously surprised. The album opens with the beautifully instrumental "In the deep shade" and follows on with "Lay me down" a melodiously crafted folk song. Songs like "Fighting on the stairs" are up-tempo whilst keeping the albums underlying folk current. The album is an acoustic Monet masterpiece in artistic terms. The band has shaken off the aggression of past works to unveil a delightful and content side of the Frames. This however doesn't mean that they have abandoned their characteristic loud guitar and vocal combination. Songs like the brilliant and personal favourite "Early bird" give the album a great sense of balance and equilibrium. James Malone
The Frames - 'For The Birds' national tour There are pros and cons to everything in life. So deciding to embark on a feverish day by day gigging schedule across the country obviously has its ups and downs. Different towns create completely different atmospheres and audiences. The one thing that has astounded me about The Frames is their ability to manipulate these audiences and capture new audiences along the way. One could nearly equate Glen Hansard as Irelands answer to the Pied Piper of Hamelin. At yet another sell out gig, this time in Kilkenny city The Frames waved their magic over yet another enraptured audience. Supported by the stunning talents of Mic Christopher and Josh Ritter who can both in their own right evoke the same crowd silencing magic that The Frames so often achieve during their live sets. The gig was part of a national tour to promote the Frames fourth album "For The Birds". The venue was the coffin confines of Cleeres Theatre where we were treated to some of the soft lullabies that the new album offers along with some classy past masters. Some of the new tracks featured included "What happens when the heart just stops", the catchy and provocative "Fighting on the stairs" and the crowd thrashing "Santa Maria". Past masters included their established sing along anthem "Star, Star". James Malone
RTÉ Online - ACE - April 12 2001 The Frames – For The Birds Plateau Records – 2001 – 52 minutes The Frames have come of age. 'For The Birds', the fourth album in their catalogue of hits and near misses brims over with tunes of tenderness and humanity. From the Will Oldham-esque 'Lay Me Down' to the yearning of 'Disappointed', the album is proof of an epic leap forward from an always intriguing band. Released on their own Plateau Records and recorded with Steve Albini and ex-dEUS man Craig Ward, this is the album The Frames have been trying to make for a long time. One of several high points is the heartbreakingly gorgeous 'What Happens When the Heart Just Stops'. A gently swelling melody emerges complete with trumpet crescendo as Hansard weaves in a reference to the later 'Disappointed'. Bookended by the similarly tender and beautiful 'Lay Me Down' and 'Headlong', this fine trilogy segues into the jangly, uplifting 'Fighting On the Stairs'. Hansard seems to have forsaken anger for compassion, his lyrics have a new depth and resonance that he has only touched on in the past. The contribution of the rest of the band cannot be underestimated particularly the melancholic elegance of Colm Mac Con Iomaire's violin playing and Dave Hingerty's understated, yet atmospheric drums. With influences ranging through Mercury Rev, Sigur Rós, Songs: Ohia and The Dirty Three, 'For The Birds' is nothing short of stunning. This is an album that will quietly insinuate itself into your life and refuse to let go of your heart. Can you resist? Caroline Hennessy Tracklisting: In the Deep Shade - Lay Me Down - What Happens When The Heart Just Stops - Headlong - Fighting On The Stairs - Giving Me Wings - Early Bird - Friends and Foe - Santa Maria - Disappointed - Mighty Sword (Lusitania)
Road Records - April 4 2001 "For The Birds" (Plateau Records) There's been a lot of talk about the Frames over the last couple of years (eh, didn't mean to sound like Bono there) and their seeming willingness to embrace new directions and take new paths since turning off the corporate highway. A lot of that may have been slightly premature as, in hindsight, their last album, 'Dance The Devil', was a massive pop album, featuring occasional glimpses of the obviously difficult and dangerous musical adventures ahead. Two very recent performances at The Olympia Theatre, though, have helped to clear the muddied waters. Their performance of 'Star Star' at The Wee Night For Uaneen showed that Glen Hansard's lyrics have now transcended the beautiful music that the now stable line-up have been making over the last few years. Later, at their headliner at the same venue, on the night of the release of this album, the material from 'For The Birds' juxtaposed perfectly with past Frames songs. Proving, perhaps, that although this album is a radical change for them, it's really been a matter of many not being able to see the wood for the trees, rather than any lack of quality in the Frames own abilities. That's something which their unbelievably loyal gig going fanbase latched onto many years ago. So, this may not be the most immediate album you'll ever hear, but sure as hell, given a few spins, it'll be one of the best. Instrumental 'In The Deep Shade' sets the tone perfectly, indicating that epics like 'Pavement Tune' and 'Revelate' may be absent from this record. Instead, what we get are eleven tunes (and one hidden track) which are a distillation of the all the great music the Frames have been absorbing over the last few years. There are echoes of everything from Will Oldham to Slint. There's more than just the ghost of Songs: Ohia floating around here, and Jason Molina has obviously been a huge influence on them during the writing and recording. The new beauty of The Frames lies in the fact that all this new found prowess is contained within the band as a unit. Guitarist David Odlum and his brother Karl have brilliantly taken the production reins, and former Deus mans Craig Ward's shaping can't be under estimated. No members' musical contribution can be undervalued here, and the stability and subtleness of the rhythm section is a big factor. Highlights? Well 'Lay Me Down' is imbued with a deep Irish melancholy, a barley hidden sadness that can rip your heart out. 'What Happens When The Heart Just Stops' and its deeply emotional cry of being "disappointed" is part of a brilliant refrain in the song of the same name, featured later in the album. The swell of horns at the end, taking the listener on a ride, is akin to being on the tip of a surfers wave. One gets the impression that this is Hansard's most overt confession of their confusions and tribulations, as they seek to make the absolutely gigantic artistic leap which 'For The Birds' is. 'Headlong' is a beautiful love song gorgeously underpinned by Colm Mac Con lomaire's deeply spiritual fiddle playing and another swell of emotion. 'Fighting On The Stairs' even features a guest appearance from the family dog. A hidden track at the end lets the Frames vent some musical spleen and muscle, with the hand of Steve Albini being most apparent. There's little doubt that 'For The Birds' is the great artistic statement that the Frames have been striving to make, a record that's the culmination of their musical and personal tribulations over the last ten years or so. It's an incredibly independent and brave record, a triumph of art over commerce, yet one that's so brilliant it could sell by the shedload. 'For The Birds' is the most heart warming and belated triumph by an Irish band, and the most positive affirmation of their passionate convictions. Absolutely and completely outstanding. Dave Roberts | ||
For the Birds opens with "In the Deep Shade," an understated instrumental that sets the mood for the rest of the album. Despite some relatively peppy numbers such as "Fighting on the Stairs," the wailing guitar sound on songs such as "Early Bird" and "Santa Maria," and the expectations some listeners may have for an album recorded with Craig Ward (dEUS) and Steve Albini (Pixies, Nirvana, Rapeman), this is primarily a gentle, slow, and melancholic album. It features melodic, folk-influenced rock songs (somewhere in the general vicinity of Will Oldham and Nick Drake, for example) with clearly discernible instruments including mandolin, piano, violin, brushed drums, and softly strummed guitar, as well as vocals that manage to sound emotive even when they seem hushed. The band says in their liner notes that this was their first chance to record an album without having to "cater to people outside of the band"; consequently, For the Birds features less-commercial arrangements that allow the group to take a leisurely pace, use subtle dynamics and negative space, and gradually build emotional intensity over the course of a song instead of trying to hook listeners immediately. Of course, this is hardly the first band to try this type of approach, but Frames handle it gracefully.
The Frames
The moment indie-rock became stadium rock... Already famed for giving good live performances, tonight The Frames have decided to step things up a notch. Throwing rock star shapes and leaping about the stage like he's got giant, extra-itchy ants in his pants, Glen Hansard is the perfect festival frontman. Even alarmingly placid bass player Joe Doyle comes over all rock-beast, with a pogoing frenzy during 'Stars Are Underground'. But it's not just the band who are whipped into a tizzy, the audience are a gidd, sticky mass - singing along like lovable football fans and inspiring the band to stop mid-'Monuement' and take a photo to bring home to their Mams. Topped off with guest turns from Paddy Casey, Mundy and Mike Scott, this was easily enough to make us all forget about our developing trench foot.
No strangers to Irish audiences, this long-standing five-piece are currently enjoying their most substantial success to date with a recording that many believe to be the album of their career. 'For The Birds' was made with underground production master Steve Albini and has already achieved Gold status in Ireland.
The rain returned intermittently as the day drew to a close. The Stereophonics showed up on the main stage and played their set seamlessly churning out hit after hit to a rapturous crowd. I wandered off to the "Rising" tent to see how the godfather of contemporary Irish indie music Glen Hansard was doing with the Frames. Not surprisingly the tent was bursting at the seems with the raging sounds of popular Frames tunes. The icing on the cake however came as Mike Scott and Steve Wickham joined Glen on stage for a rendition of The Waterboys' 'Be My Enemy'. The Frames ended the evening with 'Red Chord' in the Rising Tent as Faithless pelted out monotone after monotone on the main stage as revellers slipped off into the mud soaked dark night.
The cream of Irish music turned out to pay homage to one of Ireland's favourite hostesses. Uaneen Fitzsimons brought musical talent back to the masses with added spontaneity and charisma. The strength of "No Disco" was Uaneens ability to be informed in seemingly every musical trend that was in vogue. Her charismatic smile and easy manner disarmed us the seated audience at home and those of you who were touched by her in life. To the many artists she interviewed she was the ideal calming hostess.
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