A MOMENTARY LAPSE OF REASON

No, its not a Floyd album. While clearly it took more concentration than About Face, Gilmour's lackluster second album of two years prior, with the writers for hire approach this could never be an inspired album. Still, Gilmour does at times prove what he had in him. Signs of life is a legitimate introduction, if slightly implying some cynicism (an obvious ripoff or attempt to coldly manufacture the artistic sound of Floyd). Learning to Fly is a good pop rock song. While in its earliest stage Floyd wrote pop rock singles regularly (after Syd they became hopelessly bad), few fans think of Floyd as a singles band. Well, here you are. About Face had Blue Light and Townshend's All Lovers are Deranged (then, everything Pete writes sounds like a single in the making). Still, these were not pop songs on the level of Learning to Fly. It accomplishes its mission, but note that no member of Pink Floyd had anything to do with it outside its performance. This was one of many mercenary operations on the album. The Dogs of War is a fine, rocking song, I really see nothing wrong with it but many people abhor it. The lyrics are not good, but they aren't bad. Gilmour does not try to write lyrics when he knows they will be bad: he hires someone. One Slip sounds too light, the lyrics are irrelevant but it is enjoyable. On the Turning Away is good, but I've never particularly liked it, lyrics are better and the song is very genuine. Yet Another Movie is very strong, this is my second favorite song on the album. The sequence A New Machine and Terminal Frost are very good Progressive pieces, with excellent lyrical contribution by Gilmour, very genuine. This sequence is actually a new contribution to Floyd, a new idea. The best track, however, is the Gilmour composed Sorrow, with excellent Gilmour lyrics. It certainly belongs on any greatest hits list for Floyd. Even Waters said he could use certain things on MLOR: he meant Sorrow.

The album is atmospheric and glossy. The 80s component is overwhelming, for sure. This gives the album a nice uniqueness and rich texture however, and in some ways the darker, more serious Division Bell seems to miss this. While both albums are foreboding and depressing (in a real, intellectual sense) [offering nothing of the solution that Waters always leaves at the end of his albums, except Final Cut and Wish You Were Here], they offer some small insights into the human condition which I think anyone can appreciate.