Leonard Cohen
I'm Your Man

THE REVIEW

He is undoubtedly one of the few untouchable artists, constantly in search of  "...understanding why at certain moments I feel so melancholic..."  and it is precisely that melancholy that candidly paints his poems dressed in music and enchanting song.

However, listening to "I'm Your Man" gave me a Cohen I wasn't used to. I knew well that all he needed was a guitar to give a sense of completeness to his art, and now instead I find myself lost among cold and predictable digital sounds blended with insistent and annoying choruses.

I have nothing against changes and evolutions of an artist, but I find it difficult to see an evolution in this type of musical guise of someone who hangs the guitar on the wall and buys a computer.

Listening to this album truly gives the impression of hearing Cohen sing over poor-quality pre-cooked bases from who knows what clumsy computer tinkerer.

He had slowly accustomed us to the choruses: very discreet in the days of "Songs of Leonard Cohen", present but well blended in "Various Positions", and now, in my opinion, decidedly over the top.

Another thing I find hard to digest is the fade-out that concludes the tracks. I find it unbearable and not worthy of songs of such caliber... In "I'm Your Man," for example, it fades right during the singing... disgusting!

The songs on the album are indeed on par with his best moments, featuring "First We Take Manhattan", "Take This Waltz", "I'm Your Man", "Tower of Song", sung with expressive strength and a spine-chilling voice...

And this is probably the reason that causes me a certain nervousness: an album that could undoubtedly have been excellent is thus penalized by choices, in my opinion, difficult to understand.

On the other hand, a thorn stuck in a moccasin is much more annoying than the same thorn in a tangle of thorns...

P.S. I am aware that what in my head was meant to be a review has here turned into a rant and mostly a rather confused one, but the purpose is to hear your opinions on arrangements, choruses, and fade-outs, perhaps providing me with points of view that might allow me to appreciate this work more.