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As with much of his music, New Skin offers new insights with every listen, so weвЂ™re all the more grateful for his large and generous body of work.В Thank you for everything, Leonard.I am a music lover as well as a lover of poetry. Finally, New Skin is the Cohen record to which I feel most attached: in particular, the brutally worded вЂњWhy DonвЂ™t You TryвЂќ has been a reproving reminder to ask uncomfortable questions about loneliness and codependency after every break-up IвЂ™ve gone through since I was a teenager. From there, itвЂ™s easy to see a mostly straight line building up to the unabashedly synth-pop criticвЂ™s darling IвЂ™m Your Man. It also marks a turn in instrumentation for Cohen, incorporating new percussive textures, violas, mandolins, and jazz inflections-still minimal, but more orchestrated than the bare bones guitar-and-vocals of his previous records. It houses some of his more potent political songs, specifically вЂњThere Is A WarвЂќ and вЂњA Singer Must DieвЂќ-songs that are lyrically vague enough to be timeless, and as such feel apropos on a day as bilious as today. I wanted to share New Skin for the Old Ceremony today for a couple of reasons. He was messy, cryptic, and seemed to contradict himself readily. All of this is to say that he wasnвЂ™t just the love-worn troubadour that the вЂњgeneral listeningвЂќ CD collection staple The Best Of Leonard Cohen would have us believe.

Around the same time I started to suspect that his feelings towards women might be more complicated than I had thoughtвЂ“after all, he came of age in the 50s. This was all packaged in his distinctively conversational lilt, a voice that I used to love to fall asleep to until I spent some time with his post- Songs From A RoomВ work and realized just how biting and angry he was. For the countless fans that have connected with his music over the course of his 50 year long musical career, Cohen has served as equal parts companion and court jester, writing lyrics that were usually equal parts beautiful and cynical, mixing barbed love songs with enigmatic social commentary and plenty of self-deprecation. I was deeply saddened to learn last night of the death of poet, novelist, and musician Leonard Cohen. ItвЂ™s jarring enough to make you wonder if youвЂ™re listening to a different record by accident, until within seconds you pick up on the familiar jegog percussive backbone, which makes such perfect sense that you might feel more вЂњin on the jokeвЂќ than you ever have before. The parallels extend further: the music of Geinoh Yamashirogumi is a splicing of traditional folk spirituality with advanced programming, and AkiraвЂs Neo-Tokyo still clutches to religion in spite of its pseudo-futuristic setting.В Cleverer and weirder still is when a prog-pop song steps in after eight tracks. The closing вЂњRequiem,вЂќ as the title suggests, starts as a reverb-soaked Western mass, but the organ goes astray and eventually loops back into the opening вЂњKanedaвЂќ theme, at which point it becomes clear why Katsuhiro Otomo commissioned a score from a group obsessed with life and death cycles: the inhabitants of Akira are fixated on the past in a desperate attempt to avoid repeating their catastrophic mistakes in the future.

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I love the case this album makes for what movie soundtracks can (and perhaps should) do, the way it refuses to be background music (or even conventionally cinematic) but instead dives into the movieвЂ™s messy chaos and bounces around and off of it, building and dying in time. I picked Akira from the trilogy because it hinges the three together: Ecophony Rinne (1986) brought the group to the attention of director Katsuhiro Otomo, who (as the story goes) wrote the group a blank check with which to make this soundtrackвЂ“meaning that this record enabled them to push their technical possibility forward and further develop the musical language that they had already been speaking for years.