Missing is any sense of story or narration but the work very much stands on its own. This one is very much a Gilmore album in the same way that this styling can be heard in post Waters Floyd and Gilmore’s early solo works. If that is what you are looking for, plenty of it is to be found in Waters solo works. Much of the tone from earlier works were thus shaped as Waters left an indelible mark on the discography. Missing however is the often difficult and heavy subject matter writing from Waters. Their musical exploration is evident and while I feared a lack of cohesion or sense of a whole, the collection holds up very well and did not disappoint. The opening is reminiscent in tone and emotion of the soundtrack to the movie Bladerunner and then further develops in contemporary Pink Floyd style. The album is of mostly instrumental recordings and is a lush sound-scape that shares a sonic familiarity with Division Bell and goes in some new directions. So the album? A collection of works picked out by Gilmore and Mason as a tribute to Richard Wright from the 1993-1994 recordings leftover from the Division Bell sessions. Obviously there is something compelling at a time where how and what we listen to has changed so much. It has been 6 years since I bought a CD and a couple of years since I posted a music review here of anything. I too am not a kid anymore and am also looking at the end of my career. There is also a lot of deep introspection happening at the same time while I listen to this. So it is with really mixed feelings I auditioned the latest release as it marks the end of the road. From their early works through the post break up with Roger Waters, both the music and my life seems to have evolved together. The way I connect with it emotionally is without equal. Going back a long way, Pink Floyd’s music has held an special place in my music listening history.
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