Hi, Bear. Thanks for the kind words. I guess you and Steve are probably right about trying to match her vocals. Still, this wasn't a complete waste of time. I actually had fun replicating the backing track.

I think the constant underlying COVID-related stress (not COVID itself) has driven the creativity out of me. Haven't had much interest in composing anything original for quite a while. But, truth is that I've had "lean" periods every once in a while previously, so this might not be COVID-related at all. Am hoping that the spark comes back soon. :(

Thanks, Lek. I had forgotten that I'd left this track still tagged as "featured". I had meant to remove that a long time ago. I guess the original backing is a bit dated, although I definitely admire the way the Sigrid and her producer found an entirely different "take" on Cohen's original version. Minimalist, but powerful. A great contrast with her vocal, particularly as the song builds toward the end, and then dies back again in the final bars.

I don't know why, but it seems I'm gravitating more to trying to emulate stuff that I like (even really old stuff), rather than creating something entirely original. It's like I'm reverting to my teenage years when I was just starting out in music. Learn by copying. This track is a prime example of that.

Am currently working on the version of "Unfinished Sympathy" done by The Six, from Manchester. A really tasty updated EDM version of that classic track. I think is it not well regarded by some Massive Attack fans who consider it to be sacrilege, but I like it a lot.

Hi, Michel. Thanks and Happy New Year to you also. I think that next to "Hallelujah" and "Bird on a Wire", the song "Everybody Knows" is one of Leonard Cohen's most notable songs.

There have been a lot of covers done of Cohen's original, but the one by Sigrid was really unique. And entirely different kind of interpretation.

Cohen's original was kind of defiant.

Sigrid's version, to my ear, starts off communicating more of a defeatist flavour. Resigned to the inevitable. But, gradually as the song continues, the tone changes to become more strident and defiant. And then, settles down again in the final acapella part of the last bar.

Really, a masterful example of a single piece of music conveying a range of emotions.

thanks, Ruslan and Happy New Year to you as well. Hope you are keeping safe. Things are starting to get worse with Covid here in Ontario. Going back into hiding for a while I think. Probably a good time to start making some new music. I've been kind of lazy on that front for quite a while. :)

I definitely agree with you on Sigrid's vocal, Steve. Really a unique take on Cohen's song.

I've tried to find info on the producers/arrangers, but haven't been successful. Piano and strings. I think I did add a sound effect hit in some sections, but it's really kind of an usual arrangement.

Used Realivox Ladies plugin for the backing vocals on the chorus section. It worked fine for "every" "body" but not so well for "knows". But, I set it back in the mix so I think it really isn't noticeable.