I never had the privilege of listening to a Floyd album for the first time (I was too young in the 1980s to remember any albums then and too naive in 1994 to recall "The division bell", though I do have feint memories of "Pulse" coming out and listening to it in surround sound at a friend's house...). In an attempt, futile as it might be, to recreate this feeling, as soon as I heard that the Floyd are releasing a new album, the 1st in 20 years - and their last - I was determined to get it and listen to it from beginning to end in its entirety as soon as I get it, resisting the various posts on social media of previews and samples and what not. And so I did. This is a rather overdue review of mine of "The endless river".
No album after the likes of, say, "Dark side" or "Wish you were here" can really be deemed revolutionary. However, the album is really a throwback to the authentic Floyd sound, an endless (so to speak) instrumental song, at times with too much effort in making it sound seamless, with only a single vocal track. Many parts are reminiscent of earlier material. "It's what we do" can be considered to be a re-make of "Shine on, you crazy diamond", or maybe its Part X, notably its time and occasional 4-note motifs. The closing 2 chords in "The lost art of communication" strongly remind me of the amazing equivalent in "Breathe". The references to "The division bell" are obvious in "Talkin' Hawkin'" with the scientist's interventions and with the bells at the start of "Louder than words". I also think "Allons-y" is somewhat a reminder of "Run like hell"; I should stop here with comparisons since this might be getting overboard.
Intertwined between the first part of "Allons-y" and its reprise part is a magical sequence on the Royal Albert Hall's majestic organ. Not knowing this is rock, I would say this is an extract from a requiem mass, one which Wright wrote for himself 40 years before his demise and which Gilmour, in one final struggle to create a counterpoint-style play between keyboard and guitar (although not as successful as the one in "Echoes" or, more recently, in "Cluster one"), created 6 years later after Wright's death in this tribute record.
Indeed, this is the album of Wright, the often-underestimated Floyd genius (and stating this objectively, despite my status as a keyboard player). True, Wright's masterpieces remain "The great gig in the sky" and "Us and them" but what hidden secrets are found in this new album. I simply love the seductive sound qualities of "On Noodle Street". Ironically, "Anisina", one of my favourite tracks, is one of the few which does not feature Wright!
And, being the only non-surviving Floyd member, it was fitting that Gilmour, as the 'image' of 21st century Pink Floyd compiled this album as an elegy for Wright. Early Floyd was characterised by Syd, then it was Roger's era, followed by Gilmour when Roger left and, finally, this is Wright's masterpiece (and, in a way, Mason's with his drum solo in "Skins").
Perhaps one of the biggest disappointments is the final track, which would have been better left an instrumental piece concluding the career of one of the greatest bands of all time. The disappointment is probably overshadowed by the album art - the lack of Storm's contribution is clear. However, I did like the 'book' quality of the album sleeve (but not quite the innovation of the blinking LED cover of the album's older brother).
In no way is this a negative air to end this short review. All in all, it was a great experience to sit and listen to a brand new Floyd album, uninterrupted. I can only extrapolate this feeling and think to myself: wouldn't it have been awesome to be around in March 1973 and listen for the first time ever "The dark side of the moon"? But, in a bit of a massive Floydian slip, all I can say is, if pigs might fly...
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