The last true great record of Pink Floyd, performed two years after "Wish You Were Here" but several titles date from that time (in fact, one can notice an obvious similarity in tone and atmosphere between the "Animals" and titles like "Have A Cigar" and especially "Welcome To The Machine"), just as homogeneous and conceptual than the latter but much darker, mysanthrope, pessimistic, hopeless, drawing a humanity divided into different animalités, beautifully illustrated by a spectacular twilight picture of the famous Battersea Power Station London factory. The instrumentation is relatively small and sober compared to previous albums (over saxophone, piano or vocals, a lot more guitar). The album opens and closes on a bare room with just voice and acoustic guitar; the sequence between the introduction and the long title "Dogs" is superb ... the music volume rises gently, guitar and synthesizer and voice entered and the rhythm. In the middle, a passage with soaring voices and echoes of barking that are repeated like a bad dream, and then it resumed early. The coda strongly reminiscent of "Dark Side of the Moon", built on exactly the same model. A piece of remarkable fluidity despite the darkness of the way, composed of 90% by D. Gilmour in his own words. The two other titles ("Pigs", the most furious of the disc, and "Sheep", as contrasted with a central instrumental segment shaped recovery that of "Dogs", his final apotheosis), composed by R. Waters, are very successful and also addictive. With "Pigs On The Wing Part 2" closes this essential Pink Floyd, before opens a new page in the history of the group will then begin its slow disintegration (although Roger Waters will take only commands " mega-glider "will carry out the bloated" The Wall "and the apocalyptic" The Final Cut "before disappearing against the middle and although David Gilmour will work to two ultimate quality albums certainly but without genius and will not remain in the annals rightly matter).
