THE FUTURE is brimming with the tormented poetry for which Cohen is so well-known. His foghorn voice is close to a murmur on many songs, and he sets the mood (dark and foreboding), as he often does, through the able assistance of his omni-present female back-up singers. With the superb lyrics of songs like "Waiting For The Miracle" and "Closing Time," Leonard Cohen remains rock's preeminent poet.
"/>★「摇滚名人殿堂」、葛莱美「终身成就」加冕传奇诗人歌手，1992年第九张录音室专辑
★荣获加拿大双白金销售认证、朱诺奖「年度最佳演唱」，滚石杂志4颗星高度推崇经典佳作
Leonard Cohen's 1992 release, THE FUTURE, is both a cynical attack on civilization and a spiritual edification, with the gruff-voiced theme "I've seen the future...it's murder." From the sinister whisper of the opening title track, the mood moves to the redemptive optimism of "Light As A Breeze," and the sardonic political march, "Democracy." There's a highly unlikely cover of Irving Berlin's "Always"; peculiar for an artist known more for his lyrical poetry than for his interpretive skills. But Leonard Cohen's voice translates uniquely to interpreting pop standards, and he gives the song a highly original bluesy read. Another unlikely cut is the closing instrumental, "Tacoma Trailer," featuring fine Synclavier work by Bill Ginn.
THE FUTURE is brimming with the tormented poetry for which Cohen is so well-known. His foghorn voice is close to a murmur on many songs, and he sets the mood (dark and foreboding), as he often does, through the able assistance of his omni-present female back-up singers. With the superb lyrics of songs like "Waiting For The Miracle" and "Closing Time," Leonard Cohen remains rock's preeminent poet.
