 |
| 7.5/10 |
Listening to Leonard Cohen's music most of the time, is the epitome of purgatory. Emotional purgatory. I think to be generally interested in his post 90's output you would have a hard time trying to decipher what is incredible past his usual impeccable lyricism.
Cohen's voice with age grew darker and distinguished, and from reading how he had trouble with back problems during the recording of this LP, it isn't surprising you can hear him labouring to get most of the vocals on "You Want It Darker".
I think arrangement wise, this album seems to just make a mere backdrop to Cohen's dark half spoken croon, (if you could call it that) but that has been the case for most of his canon from the 90's onwards.
Now obviously, I will be met with blasphemy, if I consider this to be none less than a modern masterpiece from an elder statesman. Well to be honest, it's a listenable new release with some great lyrical ideas and competent but average arrangements.
I will be basing a lot of my verdict on the lyricism contained within. Because really if you take out the lyrics and Cohen's vocals, you will find soundtrack music for a nondescript film. There really isn't much beneath the lyrics on this.
Cohen tries his best to tell the story, but in all honesty, I would rather him just release a spoken word album and be done with it. I get it, it's poetry to music, and that's Cohen's calling card. But there's absolutely nothing engaging in the instrumentation on this album. I actually found the arrangements on 2014's Popular Problems to be more absorbing than this.
The opener and title track, starts with the brooding voice of Cohen, with the sparse kick drum and choral vocals washing underneath Cohen's own. I actually perceive this title track, and it's choice for the album title, to be self deprecating and tongue in cheek. As if anybody would expect light listening on a Leonard Cohen record, the fans want it darker every time!
"Treaty" sees Cohen expressing frustration and disillusionment at the same time. He alludes to their being a tug of war between him and a lover;
"I do not care who takes this bloody hill
I'm angry and I'm tired all the time
I wish there was a treaty, I wish there was a treaty
Between your love and mine"
I guess this either signals that there's virtue in submission, or that there's virtue in transparency.
Speaking of transparency, in "On The Level" Cohen sings " let's keep it on the level, when I walked away from you, I turned my back on the devil..and an angel too". This track speaks in volumes more about Cohen's life philosophy, than the good and evil theme inferred in the track. The best of ten years Cohen spent practising Zen Buddhism, so it's apt to find him addressing the proverbial heaven and hell metaphors as just another distraction in a world where he is striving for clarity and peace.
"Travelling Light" is a tribute to the wondering spirit that Cohen is. Drawn from experiences he has gathered over the world. The quaintest track on this album.
"It Seemed The Better Way", deals with wavering faith. Asking the god that you pray to, the truth that was told in the past now appears to be false? He asks several times, he feels doubt, but still drinks the blood of christ. This is the friction between pragmatism and unconditional faith. Can the god that has lied to you be repentant?
"Steer Your Way" uses symbolic gesturing to tackle religion and modern consumerism. Cohen basically talks about how our society is delving further and further, into relying on material things for self gratification.
As I harp back on the point that Leonard Cohen should release a spoken word album, there really isn't any glimmer of anything worth noting about the arrangements here. I don't believe instruments are a necessity in his music, although I do believe he has been more adventurous earlier in his career arrangement and production wise (see the Spector produced "Death of a Ladies Man" and the mid eighties gem "Various Positions").
Whether it be a way to work through an existential crisis in his twilight years, or to just exercise his right to be self deprecating and sullen, You Want It Darker brings Cohen's dynamic lyricism into the stratosphere.
And it's on this, he prepares a dress rehearsal rag of a different kind..
I'm ready my lord..
"Treaty" sees Cohen expressing frustration and disillusionment at the same time. He alludes to their being a tug of war between him and a lover;
"I do not care who takes this bloody hill
I'm angry and I'm tired all the time
I wish there was a treaty, I wish there was a treaty
Between your love and mine"
I guess this either signals that there's virtue in submission, or that there's virtue in transparency.
Speaking of transparency, in "On The Level" Cohen sings " let's keep it on the level, when I walked away from you, I turned my back on the devil..and an angel too". This track speaks in volumes more about Cohen's life philosophy, than the good and evil theme inferred in the track. The best of ten years Cohen spent practising Zen Buddhism, so it's apt to find him addressing the proverbial heaven and hell metaphors as just another distraction in a world where he is striving for clarity and peace.
"Travelling Light" is a tribute to the wondering spirit that Cohen is. Drawn from experiences he has gathered over the world. The quaintest track on this album.
"It Seemed The Better Way", deals with wavering faith. Asking the god that you pray to, the truth that was told in the past now appears to be false? He asks several times, he feels doubt, but still drinks the blood of christ. This is the friction between pragmatism and unconditional faith. Can the god that has lied to you be repentant?
"Steer Your Way" uses symbolic gesturing to tackle religion and modern consumerism. Cohen basically talks about how our society is delving further and further, into relying on material things for self gratification.
As I harp back on the point that Leonard Cohen should release a spoken word album, there really isn't any glimmer of anything worth noting about the arrangements here. I don't believe instruments are a necessity in his music, although I do believe he has been more adventurous earlier in his career arrangement and production wise (see the Spector produced "Death of a Ladies Man" and the mid eighties gem "Various Positions").
Whether it be a way to work through an existential crisis in his twilight years, or to just exercise his right to be self deprecating and sullen, You Want It Darker brings Cohen's dynamic lyricism into the stratosphere.
And it's on this, he prepares a dress rehearsal rag of a different kind..
I'm ready my lord..
No comments:
Post a Comment