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“Had a pussy in the kitchen/And a panther in the yard/In the prison of the gifted/I was friendly with the guards,” he offers. Was den Liedern und Poemen so gut wie gar nicht anzuhören ist. In „Puppets“ stellt er sich die Welt am Faden vor. „I loved your face, I loved your hair. Nur wenige Tage bevor er am 7. “You were born to judge the world,” he sings, in his spalted baritone croak, “Forgive me, but I wasn’t.” It’s a ballsy challenge from a guy whose legendary Casanova game might strike some as predatory. „Puppet me, puppet you, puppet Germans burnt the jew.“ Alles ist Schicksal in den Händen des großen Spielers. Who’s kidding who?“ Wer ist hier gegangen? Leonard Cohen (l.) und Sohn Adam präsentieren „You Want It Darker“. Er konnte zu dieser Zeit schon nicht mehr sein Haus in Montreal verlassen und war wegen Frakturen an seiner Wirbelsäule auf einen Spezialsessel angewiesen. Lines like “The baby you carried/It was almost a daughter or a son” shoulder a vast sense of loss, and the dance-instruction reprise of “one, two, three, one” is counted off as if by a man on his last legs, which Cohen quite literally was (he was reportedly using an orthopedic medical chair during the recording sessions, conducted in his living room). I sit in my chairI look at the streetThe neighbor returns my smile of defeatI move with the leavesI shine with the chromeI’m almost aliveI’m almost at homeNo one to followAnd nothing to teachExcept that the goalFalls short of the reach, In This Article: (Columbia) This posthumous album finds the poet and singer on reflective, insightful, deadpan form, ‘settling accounts of the soul’. Puppets powerfully contends with the world he is leaving, comparing fascism (“German puppets burned the Jews”) and recent foreign policy (“Puppet presidents command puppet troops to burn the land”). Mit ihr hatte er einst auf der griechischen Insel Hydra zusammengelebt und ein griechisches Motiv erklingt hier zur Eröffnung. Es hat gar keinen Sinn, sich hier Zeile für Zeile durch diese poetische Landschaft zu fransen, deren neun Strophen sich ohnehin nicht übersetzen lassen. Schließlich war er derjenige, der ihn bis zum Schluss begleitete. “It’s Torn” recalls the central image of the Cohen touchstone “Anthem” (“There is a crack, a crack in everything/That’s how the light gets in”) in a trembling voice over stately piano. Jede Strophe dort klang nach einem Abschied von der Welt. Das zieht einen tief hinein und hinunter. In her version of the waltz, lines were sung in first person in a brightly wistful survivor’s melancholy, suggesting a complicated relationship that’s already weathered the worst. No one regarded him as one of the great vocalists of his generation when he released his first albums in the late '60s, given the dour, sometimes flat tone of his delivery. All rights reserved. Der Ratschlag eines alten weisen Mannes. „I sit in my chair, I look at the street, the neighbour returns my smile of defeat.“ Ich sitze im Sessel und schaue hinaus, der Nachbar erwidert mein müdes Lächeln. Ultimately, the most haunting songs are the shortest. I got my shit together, meeting Christ and reading Marx.” Other songs consider human flaws, some of which were exposed in the recent documentary Marianne and Leonard. One provocative verse seems to be a reference to Joshu Sasaki, the #MeToo-ed zen master who Cohen studied with and served for many years. Any initial chuckles at the fading octogenarian deadpanning about nipples that “rose like bread” disappear as it becomes apparent that he is reliving a distant encounter with startling, undimmed passion: “I’ve forgotten half my life. It alludes to politics, too — “It’s torn on the right and it’s torn on the left/It’s torn in the center which few can accept” — pointedly colored by the eyes of a dying man. Reckoning continues on the title track, given to Cohen’s lover and backing singer Anjani Thomas to record on her 2006 album Blue Alert. I loved your T-Shirts and your evenig wear.“ Er liebte alles an ihr, so einfach. © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. So bittersüß die Erinnerung an verglühte Liebesaffären auch ist, so sehr treffen die existenziellen Songs ins Schmerzzentrum. „Thanks For the Dance“ versammelt auf 29 Minuten Länge neun Lieder, denen man die außergewöhnliche Art und Weise ihres Entstehens nicht anmerkt. Sehr viel nahbarer wird er dann schon bei „Moving On“, einem Lied, das Leonard Cohen geschrieben hat, nachdem er vom Tod seiner großen Liebe Marianne Ihlen erfahren hat, der er auf seinem ersten Album das Lied „So Long, Marianne“ gewidmet hatte. Leonard Cohen wrote and recorded until near his final breaths — the work, it was understood, was keeping him alive. Drei Jahre nach seinem Tod erscheint ein neues Album von Leonard Cohen: „Thanks For The Dance“. Leonard Cohen: Thanks for the dance album art work Opener Happens to the Heart reflects on his career with trademark humility: “I was always working steady, I never called it art. Here, with backing vocals by another of Cohen’s old flames, Jennifer Warnes, plus Leslie Feist, Cohen reframes the song into a farewell, both to his audience and this mortal coil. Foremost is Javier Mas, playing Moorish lines on Spanish Laud and guitars (including Cohen’s own) that triangulate the words of this New World Jewish poet with European and Middle-Eastern music in a wry, and maybe hopeful, geopolitical metaphor. „I was always working steady. But I never called it art“, heißt es zum Auftakt in „Happens to the Heart“ Ich habe immer hart gearbeitet, es aber nie Kunst genannt. At just 1:12, it’s a final testament from a man who’s learned no one here gets out alive, and no one with ambition gets everything done. Die Transformation von Denken und Fühlen in Dichtung war für ihn zeit seines Lebens ein nahezu sakramentaler Schöpfungsakt, und so ist es nun auch bis über sein Ende hinaus. A personal, faintly rueful song about the business of poetic fatalism and “selling holy trinkets,” it’s carried on atmospheric piano by fellow Canadian Daniel Lanois, Cohen unfurling cryptic rhymes like a cantorial MC.

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