Friday, August 5, 2016

Music Review #67:
Pink Floyd
The Division Bell
1994
EMI Records








Not one for long goodbyes...

This was a bit of a doozy coming back to it after a long time. It isn't like any other Pink Floyd album; everything has changed. The remaining band members have changed in attitude since Momentary Lapse of Reason in '87.

For one, there isn't as much gung-hoe enthusiasm that they had on the last album. The Division Bell is a collection of bittersweet melodies, containing more soul than spirit. What do I mean by that? I myself tend to hear "spirit" when listening to a band's early attempts at pleasing themselves and their audience with their enthusiastic naivete. When I refer to soul in this case, soul is the tunes wrought by a time-weathered band in their death throes, with full knowledge that this album they make is their last. Lyrics are more blatant and on the nose than they used to be, lacking much of the poetic fuzz that was prominent on their greatest of albums. They speak of their destructive relationship with former bassist Roger Waters, mainly from the viewpoint of David Gilmour. These range from 'What Do You Want From Me', about Gilmour's experience with Roger Waters' rash stinginess with his musical direction, to the pseudo-upbeat retrospective on his childish behavior on 'Lost For Words', replete with the sounds of a boxing match halfway through.

There is also a newfound maturity that is present on The Division Bell. These men are old men, hallowed by the years gone by, and have given up on the artsy experimentation that everyone had adored them for. I wouldn't go a step to say that this is a ballsy because there is an air of self-inflection rather than an eagerness to please their audience, but I wouldn't necessarily call it uncaring. The music is smooth and clean cut, with much of the formality you see in other bands' last moments (a good parallel is with Rush's Clockwork Angels"). The guitars are played pretty safe with humble chord progressions, Wright's solemn piano and ambient keyboard is a mark that will be forever etched into is insurmountable legacy, and Nick Mason goes back to basics with some simple fills (With honorable mentions to Guy Pratt on bass). The moments where Gilmour seems to shine best is with the acoustic, where he has always found his element. The pure organic quality he harnesses has brought emotion to me several times in the past, and certainly does here.

What I said before may or may not have been a turn off for you hardcore fans, but fear not, this album does not forget some pizzazz. 'What Do You Want From Me' features a funky, almost sassy bass line that is always great to hear. 'Take It Back' is a bit of an ode to Momentary's style, if you're into that (I am). The closer 'High Hopes' not only is a throwback to 'Fat Old Sun''s opening of bells but also features lovely highfaluting composition I know droves of Floyd fans love.


I know this review might have been a long one but The Division Bell deserves it. This is not only one of the best Floyd albums, it is one of the best finales I've ever heard. Critic or bystander, experience of this first-hand is truly the only way to do it. Thank you Pink Floyd for the years of enjoyment.

2016 - The Frying Pan & Thatcher 
Originally written for Prog Archives on 8/2/2016.
Visit the site at www.progarchives.com

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