Glen Hansard
It Was Triumph We Once Proposed...The Songs Of Jason Molina
“I think covers are important; I’ve seen it in its maximum
power.” Jason Molina spoke these words
in an interview in 2010, three years before his passing.
For the uninitiated, Molina was an ultra-prolific songwriter
and the driving force behind the bands Songs: Ohia and Magnolia Electric Co. Between 1996 and 2009, Molina, with the help
of a rotating cast of collaborators, issued upwards of 35 releases credited to
both bands as well as his own name. His
sound ranged from the lo-fi indie rock of the former to alternative country
twang of the latter, unified by the stark imagery of his lyrics and a penchant
for beautiful melodies. He died of
alcohol related complications in March of 2013.
Glen Hansard knew Jason Molina well. The Frames frontman had invited Molina to
tour Ireland after falling in love with Songs: Ohia’s debut record – one which
he purchased on a whim. Molina took him
up on the offer, and the two became friends, even releasing a split 7” record
together in 2000. Fifteen years later,
Hansard is offering up a tribute to the songwriter he admired so much. It Was
Triumph We Once Proposed…The Songs Of Jason Molina finds Hansard taking on
five Molina tunes, backed by former members of Songs: Ohia.
The EP begins with “Being In Love”, from 2000s The Lioness. Here Hansard and company have traded the
originals steady wash of organ and programmed drum beat for a more conventional
wavering rock structure. Driven by a curiously
catchy guitar lead, Hansard takes on one of Molina’s greatest lines in a mellow
voice. “Being in love means you are
completely broken,” he sings, “then put back together. The one piece that was yours is beating in
your lover’s breast. She says the same
thing about hers.” Jennie Benfords backing vocals add a warmness to the last
line as the band begins to build itself towards its dramatic conclusion.
If “Being In Love” is the most ambitious reinterpretation, “Hold
On, Magnolia” is the most faithful of the group. Staying true to the originals melancholy
nature, the band hangs back just enough to let the piano line carry the
song. Hansard owns the vocal here more than anywhere
else on the EP. Whether he is singing it
to himself or his lost friend is up to interpretation, but there is a feeling
of strong emotions as he belts out the final line: “I think it’s almost time.”
Quite the opposite approach is taken to one of Molina’s most
popular songs, “Farewell Transmission”.
Known as the loud, hard rocking album opener, here it has been reduced
to its most basic parts. The lap steels
popular lead line is played by a guitar mixed gently underneath an ethereal arpeggiated
chord. Two thirds of the way through, things
kick up, but never quite with the ferocity the song is known for before it
slowly dissipates into silence.
The final two tracks are selections from the self-titled
Songs: Ohia debut. “Vanquisher” stays
fairly true to the original, an upbeat rocker that trades its banjo for an
electric guitar. Benford and Hansards
voice play well off each other in this more upbeat dynamic. But it’s “White Sulfur” that showcases the
true cathartic nature of this project. It’s
a track that won’t make many lists of Molina favorites, which makes it all the
more endearing. Accompanied only by his
acoustic guitar, there is a clear connection between song and singer. Hansard’s voice falters slightly as he closes
the record with “I have to be going.
Okay.”
Jason Molina was right – covers are important. Great songs carry with them the capability to
be reinterpreted. In the right hands,
those songs can continue to transcend cultures and generations, meeting new
audiences all the time. We lost one of
the great writers, but thanks to Glen Hansard, Molina’s songs will continue to
live on.
Listen to Glen Hansard performing "Hold On, Magnolia" live below:
Comments
Post a Comment