A Leonard Cohen (Montreal, 1934) ensuring likes to joke that he was born in a suit, a nod to the everlasting elegance that permeates all his work and, of course, verse by verse and filtered dropwise into 'People Problems' work with the Canadian reappears in the record market just three years after publishing "Old Ideas."
An unusually short for an artist who in the last two decades had only released four studio work and it gets 80-the period will meet next on September 21, two days before "People's Problems' reach Stores- redoubling its commitment to nudity and allying again with Patrick Leonard, Madonna co-author with such hits as "Like a Prayer" and "La Isla Bonita" and Cohen associate who took part in the composition of some songs of 'Old Ideas' .
"When you get to write to the blank page, or pick up the guitar, if you start from scratch, you are an absolute beginner, it is a struggle against silence, against your own weaknesses, you can not stop and think if you influence or influence you» , claimed shortly after receiving the Prince of Asturias Award for Literature, 2011 to a Kohen, a step-eighties, once again disguised as an apprentice to erect a monument exciting new weightless blues and folk Spartan. A fairly new skin for the old ceremony bard of Montreal rubric with new signings-not appear in the credits and Jennifer Warnes and Sharon Robinson, Cohen voices replaced here with those of Charlean Carmon and Dana Glover - and limits their collaboration Anjani Thomas with a single song.
Open this new collection of litanies and confessions' Slow 'minimal rust and blues, praise of the slow explosion of female voices in the chorus. "It is not because it is old, I've always liked slow' judgment Cohen. And so, with its delicious parsimony, that taste the verses in a voice of unfathomable abyss, the Canadian delivered nine new songs in which parks the flesh to be covered with the cloak of asceticism and spectral song author.
"Amost Like The Blues' curls beside the piano from murder, rape and burning villages to dig more crepuscular and dilettante Cohen. Here it is, in whispers chewed, the chronicler of disenchantment, the narrator of "The Future", watching from a distance a gig and sunk society. Given such a scenario, there is only one option: to let one will freeze the heart "to keep away the rot. "
With "Samson In New Orleans", Cohen sounds more Tom Waits than ever, with a plaintive organ aupando a singer presented here as wise as aged. A monastic and liturgical climate gently cradled by a violin anthem. The blues again put his head in "A Street" with Cohen taking the role of poet reciting more disenchanted and throat singing to settle accounts with the future becomes clear. "The party is over," he announces just before that female choruses begin to tangle in his throat granite.
"I loved you ever, ever needed you?" Cohen asks' Did I Ever Love You "hint of blues cavernous voices transformed into a smooth and pleasant country walk. "Any time I was able to love someone forever ?, Cohen questioned" unrepentant lover, the eternal disenchanted. "My Oh My" soul approaches the idle winds with joyful and expansive chorus to sign one of the most vigorous parts of the disc and "Nevermind" gets the synthesizer sound that became the hallmark in the eighties to coin once more war, religious and historical references, look askance at "First We Take Manhattan" and slide Arabic borders. "There could kill the way you kill" concludes the Canadian.
With "Born In Chains" Cohen remembers, and a step of gospel, gets one of the pieces already played live 2010 History, flight and exile, always reinforced by those female vocals that Canada has already become brand. 'You Got Me Singing "dismisses the disc with Cohen singing despite everything," but the world is gone "and gypsy violin making its way through the folk and leave with a trail of elegance and durability.
That is Cohen thus singing until the end of love and certifying large that rebirth that began to take shape in 2008, when, after nearly three out decades scenarios, reappeared with torrential performances over three hours. Never hid Canadian his main motivation to return to the road was to recover the money he had filched his exmáganer, Kelley Lynch, who appropriated five million dollars of the singer, but once you took the taste could not get out again. " I was able to restore my small fortune in a year or so, but I went on tour ', claimed in an interview that a Kohen, however, has not yet scheduled for a live presentation of' People Problems' dates.