The endless flow of Pink Floyd ends with this album

So now have holidays I finally had enough time and leisure to write a review about the "Endless River". I was initially skeptical, after all, it was the first album in 20 years, consisted of "remnants" of the Devision Bell sessions and was largely instrumental. But as Floyd fan, I had to get the album of course, but down and found it after the first listen already not bad. I divided the album the same in the 4 sides and not in 18 titles, it has probably helped me quite quickly gain access to "the endless river". In any case, it was after every time you hear better and now I can just enjoy listening, although it of course does not reach to the great masterpieces of the group. But who would have expected because seriously?

The album consists of many song fragments and not really correct songs. It's just a river, where you can let yourself drift. Each title dive in my mind to images. To describe all now, would be too boring and would rob too much time. I was also pleased that Nick Mason participated in the disc for the first time since "Dark Side Of The Moon" again as a composer ("Sum" / "Skins"). Primarily, it was of course a tribute to Richard Wright, and that really shows. Its keyboard, piano or organ dominates in many songs and held in a quiet atmosphere.

Side 1 starts with the first slightly spacey and very quiet "Things Left Unsaid", which turns into "It's What We Do", a piece which, as already mentioned here, reminiscent of "Shine On", but also some own has and I like very much. It's just Pink Floyd and it shows every second. The page then sounds from the back very quiet "Ebb and Flow". Allgeimein the first page is rather quiet and slow.

Side 2 starts with "Sum" a bit like "Astronomy Domine" before Masons creative Drums, Gilmour's steel guitar to come, Wright Organ / Keyboard and Sound Effects. In "skins" there is more drums with no real melody and some untrained ear may have wondered what that is supposed to represent. "Unsung is then the short transition to" Anisina. "Well, not bad, but then too corny, but is also not too long.

On Side 3 we get first "The Lost Art Of Conversation", a short distance with Wright's piano before in "On Noodle Street" something comes up more momentum, while "Night Light" is very quiet again. "Allons-y" is then beautiful rock with good guitar and mid indoors 'Autumn' 68 ", played a piece on the organ of the Royal Albert Hall. The page ends with "Talkin 'Hawkin'", one of my favorite pieces of plate. This piano melody is just fantastic. She has this special atmosphere that reminds me of something. On what and why I do not know, but she does. And Staphan Hawking voice to match.

The last page, Side 4, begins with "Calling", a sombre piece, "Eyes To Pearls" performs this sentiment further, with a good guitar motif and Drums dunk. "Surfacing" then goes on, again with background choir, but "Louder Than Words" is then actually become the only song with great vocals. The melody has remained in the ear, the guitar, piano / keyboard and drums complement each other well and it's nice to hear again Gilmour's voice. Only the guitar solo ends much too quickly.

And to cover: So bad I find not that! It fits well with the music, I think, and perhaps there is also a deeper meaning behind it. Perhaps the man who rows as above the clouds is supposed to be Richard Wright. Who knows exactly? but it is always nice.

I was happy again to hear what Pink Floyd, from me they had a little more quiet can dish out of the 20 hours Devision Bell Sessions us. And to again return to my Vorrezensenten. One can, even if it was not just dumped by his girlfriend, found this album well and give it 4 stars. Because if you're getting into it, the album has this really deserves.