Because this Text will only work with the Soundtrack, put on the best once the music. Perhaps as a prelude to this Song of his last album “Old Ideas”. Then, just as a suggestion, like something hungry, the betörendere with each stroke, “Take This Waltz of Life”. And to listen to his young voice, light as Aluminium – this piece, of which he said: “It feels wrong to write this Song and want to be rich too.”
You can hear Leonard Cohen and white: He was a man of reduction. One that didn’t take much to tell everything, what to say. The instruments are minimal and clear. The voice: just as much melody as needed. The rhythm: when in doubt, a sleek waltz. The words: frugal and filling like bread. In Cohen’s minimalism is a beauty that is much more clear, as soon as you aufblättert his now published verse band “The flame”. No fire, no flame, just long enough to Brighten.
the last, which he wrote shortly before his death two years ago, poems; lyrics of his last album “You want it darker”; and a huge batch of extracts from its myriad of notebooks that he carried his life around. Each of the lines of facsimile to show his generous, bold, black font – goods, such as sketches, from which all the Rest originated.
What the words, in black and white, in this last Band a lot more clearly emerge: is There a festival in his lane, he draws circles around everything that is fragile. The life, the love, the own. And the question of how much time he has to do everything once again, maybe very different.
He throws down a Burst of ideas, ego and bursts of pleasure in short stories. And the Big one buries it between ungemachten beds and lamb chops. Or in an empty scenes, such as when he and his last love Anjani Thomas to make music together, “And I’m going to improve on your singing / And you will improve my Text / To everything is better than fabulous / Then we don’t hear it / don’t often / every Time / But now and then / Till the end of our days.”
Kanye West’s delusions of grandeur, precise
Cohen cited it creates, that his view of life back to his music, his on-the-go, its multi-religious Faith and the Love that he has not enough sung or recognized too late that this is a parting that sags never in melancholy. Because it does not allow its lazy language. Because the 82-Year-old center takes in often the swing, the clock attracts. And because he is so disarmingly unpretentious, up under the Brim of the hat with a delicate self-irony: “The curator of this exhibition was drawn To the name / words. / I call my works / is Acceptable decoration.”
The flashes, though not less tender, even after a Diss-Rap-Battle-sounding poem, “Kanye West is Picasso” (have a listen? Here ), in which he quoted the well-known Megalomania-sayings by Kanye (and Jay-Z) amazingly precise, with sizes such as Picasso, Edison and co. to be equated. He satirized this attitude, by which he elevates you mercilessly: “I am the Kanye West of Kanye West / The Kanye West of the great bogus shift of bullshit culture.”
Kanye West Is Not Picasso by Leonard Cohen, from Cohen’s new book The Flame. pic.twitter.com/w5lUfkjdYv
— S H I R E S $Hit Show (@amandashires) 11. October 2018
Unironisches mouth, heroism is not simply being, as everywhere is in the lines: “I’m not a Saint or a murderer: I love and not kill. I’m in love and I rip out the wings of flies”, and anyway, he’ll leave behind “a Sack full of cracks”, in the notebook. By the light coming in, he sang once in “Anthem”.
Above all, he leaves behind a fresh fabric, now, because you had arranged with the bitter feeling that nothing New is coming. This Band is overflowing with Cohen’s lyrics, as you’ve discovered a whole box of never-heard panels on the roof to the ground.
DISPLAY Leonard Cohen:
The flame / The Flame
from the American English by Nora Bossong, Matthias Kniep, Nikolai Kobus, Simone grain Appel, Nadja Küchenmeister, Léonce W. Lupette, Christian Lux, Klaus Modick, Kerstin Preiwuß, Marcus Roloff, Ron Winkler, Katja Winter
Kiepenheuer & Witsch, 352 pages, 30 Euro.
Twelve authors, younger and older, have made to the Translations, including great artists such as Ron Winkler, Nora Bossong and Klaus Modick. It was the “friendly arrogance” of this establishment is aware of, it is said in the Preface. But, alas: Not only because of Cohen’s Holy bleakness, so its essence, apparently, many didn’t matter; the list of the totally snobbish vocabulary is misleading. This surprising error. If a man of the word, such as Cohen of the “unspeakable suffering” writes, it can never be “unsustainable”, but must remain “unspeakable”.
fortunately, the Original is always right next to it. And thus, Leonard Cohen’s is visible to wriggle out of the no-frills most Parts of the English vocabulary dark waltz. This waltz, in which the body weighs, automatically, when one reads Cohen, line for line, Verse for Verse, inspired by its sober wisdom. The book in the Hand as the only Instrument, it is sufficient.