Silence as a concept or: The Art of Listening

For those who liked the instrumentals on The Division Bell. For those who find the use of song at Shine On You Crazy Diamond always came too soon. For those who have resorted in the 1990s to Porcupine Trees The Sky Moves Sideways as Pink Floyd substitute. For those the endless river is the right album.
The published with much fanfare swan song of the band is exactly where the previous album left off. Yes, it is, if you will, the perfect complement to The Division Bell, with which it shares the source. The majority of the recordings of the endless river springs the same sessions, which were also the breeding ground for the multi-million seller in 1994. But we are faced with the new work sketches and collages as combined into a larger whole, but not to conventionally structured songs have evolved. This may irritate some, but lies in the quality of the album, which is more than a mere collection of songs.
Many diehard Pink Floyd fans have disturbed after the departure of Roger Waters in mind that the conceptual, which has marked albums as Dark Side of the Moon, Wish You Were Here and Animals, then was lost. This criticism is understandable. However, one can David Gilmour credit, that the resulting under his album The Division Bell certainly contributes conceptual trains. That there always prominent motif of the communication problems could and can also be related to the history of the band and is far more complex than many recipients initially have perceived.
The endless river is there and creates by his title as well as by the single contained on conventional song louder than words, references to the entire post-Water era of the band. Because so are probably the two strongest Pink Floyd songs, which arose under Gilmour, quoted directly. Sorrow in 1987, which can be related as a post-apocalyptic scenario on the then Constitution of the band as well as on a world after nuclear war, and which states at the end: Theres A Silence That Speaks so much louder than words of promises broken. And High Hopes from 1994, which ends with the words: The Dawn Mist Glowing. The water flowing. The endless river. Forever and ever.
The endless river rises the lack of words to the concept by letting the music speak for itself. Game flow and improvisation put here a counterpoint to the strict character, which forced the skills of Gilmour and Wright at The Wall in the corset.
Clear: If you miss a tension here, which is in the wrong movie. However, not every movie must be knit as a blockbuster. Here outweigh the quiet tones, urging the recipient to what good music should always invite: listen.
When it comes to faulty communication in The Division Bell, so is the endless river of listening, the most important prerequisite for successful communication: the willingness to become involved, to listen, to perceive without being overwhelmed equal. This is the quintessence of music that does just without words respectively this can drown. Ultimately, this also leads directly back to the divergence between Gilmour and Waters. Music versus words. Pink Floyd had been the best place at a time when this contradiction in the Gesamtkunstwerk. Dark Side of the Moon and Wish You Were Here, these permanent monoliths according to which the balance was lost. The endless river does not go back there, even if it is quite floydianisch, celebrates the album as a work of art, but by providing the music alone in the foreground, it is the most consistent incurred under Gilmour album as it were the counterpoint to The Final Cut, that LP which 30 years ago was already using a full stop or should prevail.
No question: Gilmour, who unfortunately deceased Richard Wright and Nick Mason did not invent this final album the band and their music all over again. That was not to be expected. But they play a unique stylish battle with the elements that Pink Floyd made to what millions charmed.
For all those who heard the beginning of The Division Bell with pleasure and disturbed in mind that the elegiac Cluster One passed too abruptly in a conventional song, and these headphones I count myself, are like the endless river. Here, the transition comes after forty-five minutes and it would have been quite consistently to renounce this whole.
So one wonders almost an album long, when it finally starts and would not that it ever ceases. But everything must be just to end up like the band's history. The river continues to flow, from swerve of shore to bend of bay, the loose threads, they are here again recorded, but not merged. They remain lying, can be taken up by others. Just as the water of the river, which continues to flow, and it does not matter who it skims and drinks.