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We're somewhere outside, and "she" doesn't move, only her shadow keeps growing in the setting sun. Referring to the show, I'm pretty sure it's supposed to loosely relate to the 1st body they find. As the cover of his most recent live album demonstrates, he’s in pretty dire need of a new Photoshop guy.The song itself describes a dead female body decaying in some wilderness. And hey, maybe the show’s producers can even hook him up with the designers who do those evocative credit-sequence visuals. (His 2012 album, the cheekily titled Old Ideas, was also his highest-charting album to date.) Hopefully, the True Detective bump will expose a whole new generation to Cohen’s music and continue his late-career renaissance. It took decades ( and countless covers) for his song “Hallelujah” to become the beloved anthem it is today, and his hugely successful 2008 world tour was something of a long-delayed victory lap. In a way, “slow” has been the default speed for Cohen’s entire career.
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Hulu right now and watch Cohen’s 1984 guest appearance on (yep, really) Miami Vice.
#TRUE DETECTIVE SEASON 1 OPENING SONG TV#
Then - following the success of his masterful synth-driven comeback album, 1988’s I’m Your Man - the ’90s saw a whole new generation embrace Cohen through his placement on soundtracks: A few I’m Your Man songs appeared in the Christian Slater flick Pump Up the Volume, and more famously, songs from his 1992 album The Future were used in Natural Born Killers. Cohen’s no stranger to TV either: You can go to Miller, layering them almost like ambient sounds that floated in and out of the film’s atmosphere. In 1971, Robert Altman used three of the songs off Songs of Leonard Cohen to unforgettably haunting effect in McCabe & Mrs. This is, of course, not the first time one of Cohen’s songs has played a prominent role on a soundtrack. (In the longer version, kirtan singer Donna DeLory repeatedly sings the word salaam in the background.) Their contrasting vocal stylings, and languages, echo the duality that Cohen contemplates in the lyrics. On the surface, “Nevermind” sounds terribly bleak, echoing the show’s flirtations with nihilism and theories about the meaningless of existence: “There’s truth that lives/ And truth that dies/ I don’t know which/ So nevermind.” (It is the sort of song I can imagine Matthew McConaughey listening to on repeat in his Lincoln.) The song has been condensed for the credits, but on the album it’s more apparent that it is about the aftermath of a war, most likely in the Middle East. He once told an interviewer that his writing process is “like a bear stumbling into a beehive or a honey cache: I’m stumbling right into it and getting stuck, and it’s delicious and horrible and I’m in it and it’s not very graceful and it’s very awkward and it’s very painful and yet there’s something inevitable about it.” Put another way, see Popular Problems’ great manifesto of an opening track, “Slow” : “I’m slowing down the tune/ I’ve never liked it fast/ You wanna get there soon/ I wanna get there last.” No matter the form of what he’s working on, Cohen is a notoriously slow writer, sometimes laboring over a piece for as long as a decade. A year later, “Never Mind” (the poem title is two words, the song title is one, and Cohen is the sort of writer who is so jazzed about the tiny nuances of language that this does make a difference) was published in his long-awaited poetry collection, Book of Longing, his first in more than 30 years.