New York Daily News – Review: Ten New Songs

Cohen’s music has romance and religion to it, but his words, like all poetry, would have movement without any instrumental accompaniment at all. They create rhythm through meter, alliteration and rhyme. “Suddenly the night has grown colder / The God of love preparing to depart / Alexandra hoisted on his shoulder / They slip between the sentries of the heart.” This, to describe getting dumped… To shine such a piercing light on experience is Cohen’s genius. Coupled with the grace of his music, it continues to make his words worthy of worship. — New York Daily News, October 14, 2001

Rolling Stone – Review: Ten New Songs

“Confined to sex, we pressed against the limits of the sea/I saw there were no oceans left for scavengers like me,” [Cohen] sighs on “A Thousand Kisses Deep.” And so it goes: With dim-light instrumentation and the shadowing vocals of longtime collaborator Sharon Robinson, Cohen returns, the undisputed landlord of those dark, damaged places. From the impossible longing of “In My Secret Life” to the sad-bastard boozings of “That Don’t Make It Junk,” Ten New Songs manages to sustain loss’s fragile beauty like never before and might just be Cohen’s most exquisite ode yet to the midnight hour. — Rolling Stone, October 9, 2001

Uncut – Review: Field Commander Cohen

[T]hese performances – recorded on his December 1979 British tour in Hammersmith and Brighton, previously available only on bootlegs – are more than welcome. Backed by a band of intuitive sensitivity and an unobtrusive girlie chorus (Jennifer Warnes) he draws heavily from New Skin for the Old Ceremony (three songs), Recent Songs (four) and the first album (three). The voice is relaxed and assured, his unhurried timing is inspired, and you can hear an almost spiritual communication between performer and what sounds more like a church congregation than a rock’n’roll audience. — Uncut, April 2001

Manchester Evening News – Review: Field Commander Cohen

Cohen’s sly humour has rarely been more evident than on these live recordings. I’d forgotten, though, quite how good and marvelously full-sounding the band, featuring Jennifer Warnes on vocals, were, clarifying songs from the then-current albums and giving a veritable new lease of life to the inevitable older favourites. — Manchester Evening News, March 2001

Rock CD – Review: The Future

This excellent new album continues the stylistic experiments inaugurated with I’m Your Man, with only a few nods to the jaundice folkiness that made him so popular with hypochondriacs and raving paranoiacs in the first place. Likewise, his lyrical concerns have broadened beyond familiar themes of seduction and betrayal, with numerous forays into the political amphitheatre and committed stabs into the belly of the cynical, hard-boiled nineties. “’Waiting For A Miracle,’ ‘Anthem’ and ‘Light As The Breeze’ wouldn’t sound out of place on albums like Songs From A Room and Various Positions were it not for the slightly eerie syncopated backbeats and state-of-the-art (i.e. posh) production… this album cements Cohen’s reputation as wry nineties ironist and all-round spokesman for the human condition. Little short of a bloody marvel. — Rock CD, December 1992

The Independent – Review: The Future

[Cohen’s] lyrics have more depth, colour and polish than the next man’s. Two of these new songs are anthems, hymns, ancient in their concerns, modern in their outlook. One of them, a gospel number actually entitled “Anthem”, goes like this: Ring the bells that still can ring Forget your perfect offering There is a crack, a crack in everything That’s how the light gets in. When the words sing out like that, the singer hardly has to. — The Independent, November 22, 1992