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Audio interview with Adam about Thanks for the Dance on BBC Radio Scotland.

Adam Cohen talks to Janice Forsyth about his father Leonard Cohen's final album, Thanks for the Dance, released after his death:

https://player.fm/series/the-afternoon- ... -his-death

Thank you, Marie -- that is an excellent and lovely interview with Adam, very moving.

Thanks, Marie, for finding this.

Some clues as to what to expect: Adam said they decided to "use as many (of Leonard's) musical signatures to make people go through a kind of journey of Leonard Cohen's music...the rolling guitars, the background vocals from women...a lot of chord changes."

Also, I got the distinct impression that Javier plays on tracks other than "Happens to the Heart," very welcome news, thanks Javier.

4

The Quietus reviews the new album:

https://thequietus.com/articles/27437-l ... nce-review

And a *****-review from The Telegraph:

https://www.telegraph.co.uk/music/what- ... -thoughts/

Thanks for the links.

Love this archetypal LC line from It's Torn in the Quietus one -

One of the darkest tracks, ‘Its Torn’ employs a murky tone alongside moments of simple brilliance, with typical commentary on an unknown topic: ‘the lie in what’s holy, the light in what’s not’.

Any info re who took the promo photo? Is this an authentic photo produced by a Polaroid camera?

Apparently there were listening parties of the album for the press, at Spiritland London and in Berlin.
Para los que hablan en español aqui un articulo del periodico "El Mundo":

https://www.elmundo.es/cultura/musica/2 ... b469e.html

And a nice article from the "Irish Times":

https://www.irishtimes.com/culture/musi ... -1.4079061

Photo Credit: Kezban Özcan
I can't really determine whether or not this is an actual Polaroid photo, but from what I can see on a high quality image of the photo I very much doubt it: I think they photoshopped the photo to resemble a Polaroid...

WiTS wrote: ↑Fri Nov 15, 2019 4:51 am Any info re who took the promo photo? Is this an authentic photo produced by a Polaroid camera?

Maarten wrote: ↑Sat Nov 16, 2019 3:37 pm Photo Credit: Kezban Özcan
I can't really determine whether or not this is an actual Polaroid photo, but from what I can see on a high quality image of the photo I very much doubt it: I think they photoshopped the photo to resemble a Polaroid...

WiTS wrote: ↑Fri Nov 15, 2019 4:51 am Any info re who took the promo photo? Is this an authentic photo produced by a Polaroid camera?

Thanks, Maarten. Totally agree on the Polaroid authenticity. I think to myself and raise my doubt on first sight. I guess that choosing this photographic form/effect is a way to demonstrate old-school, reminiscence and preciousness.

However, I do hope this photo should have been an actual Polaroid photo.

I understand that Adam says there will not be any more albums with Leonard Cohen. But why not. We have the full recorded voice of Leonard reading Book of Longing, why not compose music to some of those poems. I for one would buy such a record

Peter

peter danielsen wrote: ↑Sun Nov 17, 2019 3:54 pm I understand that Adam says there will not be any more albums with Leonard Cohen. But why not. We have the full recorded voice of Leonard reading Book of Longing, why not compose music to some of those poems. I for one would buy such a record

I do agree. But yet, what about Javier Mas' mentioning of having recorded more songs than fitting on one album
( https://www.heraldo.es/noticias/ocio-y ... 41220.html)?

The passage is "«Grabamos muchas de esas canciones, no van a caber todas en un disco» ("We recorded many of those songs, they won't all fit on one record")

With all due respect to Adam's decision, but somehow I still can't think they really would conceal those records left forever?

Review in the Mail On Sunday today by long-standing LC devotee Tim de Lisle:


https://www.dailymail.co.uk/home/event/ ... -sing.html

ALBUM OF THE WEEK

The Sunday Times, 17th November 2019, 12:01am


LEONARD COHEN

Thanks for the Dance
Columbia


Recorded by Cohen’s son, Adam, in the weeks leading up to his father’s death in 2016, this remarkable posthumous album honours the singer’s legacy while reminding you that his creative powers in that last period were not just undimmed, but fierce, inquisitive and tenacious. The sonic palette here is similar to that of You Want It Darker, as are the musicians who raise these songs to life. At the album’s core is Puppets, a savage takedown of the “I was only obeying orders” approach to war, politics and relationships, lethal in its jaundiced restraint. Throughout there’s a stillness to the arrangements that allows Cohen’s gravelly voice and pin-sharp lyrics to come to the fore. Even as the end drew near, he was still capable of a kind of waspish pragmatism about the demands — and elusiveness — of his craft. “My page was too white,” he semi-whispers on The Hills, “My ink was too thin/The day wouldn’t write/What the night pencilled in/But I know she is coming/And I know she will look /That is the longing/This is the hook.” Dan Cairns