THE DIVISION BELL

1 Cluster One for the intro which was the proof of the prog sound, a delicate instrumental with the piano more than the guitar in the foreground, an appetizer to eat without hunger; the guitar will still come and play a few notes and drop the imprint of the sound 2 What Do You Want From Me for David's guitar, yes we wanted to know we are served it is there; the more consensual title...but the PINK FLOYD guitar is not dead; the intro the hooked title that goes with it we are reassured 3 Poles Apart on a relaxing, unplugged acoustic and electric tune, the sweetness of Pompeian slow, a nectar that can be drunk without thirst; Richard credited again on the album abusing the Mellotron, he's right; the break which leers on old Animals titles, on the bells, not those of Mike OLDFIELD, on a fairground sound, the calibrated, gentrified prog spreads out without fear; the desired repetition, in the form of an echo, the guitar which completes the grumpy prog, it's beautiful, 90's prog 4 Marooned with seagulls and an airy soft air, the notes refined to rise even higher; it's simple, but well done, who released this perfect solo at such a slow tempo? Who thought of doing that...no one! This is the creation that makes this group anchored in our foundations 5 A Great Day For Freedom continues gently, calmly; the voice is calm, the piano seems to have already been heard, the orchestral part adds to David's vocal drama; the final solo that we are waiting for melting 6 Wearing The Inside Out with sax and jazzy dub bass, entering a nightclub, wandering along a bank of the Seine; siren choruses like the good old days of TDSOTM

7 Take It Back for Side B, ah no need to spin the record with the CD either; and more than an hour is long, like this monolithic title which takes too long; it's clean but long; the interest of bringing 8 Coming Back To Life with its crystal clear acoustic guitar, infusing a new prog sound for the time; the title to be listened to everywhere for its bluesy connotation goes everywhere; the concept of the metronomic title which makes you tap your foot, on a piece of furniture, yes you get the rhythm; the solo is obviously excellent, as if you had composed the score yourself, a narcissistic Floydian effect 9 Keep Talking brings the cinematic Kiss Cool effect, keyboard, synth in chaos and reminds that the organ is very important too; dub effect, line from Another Brick in the Wall in the distance, voice-over and here we go again for a stack of similar sounds; most of all the choir with the musketeers of the dark side again and a solo from David which is hard, hard or almost; Richard comes to level with his warm keyboards; the animal note again on Dogs, the latent atmosphere is diabolically proposed making us forget any redundancy 10 Lost For Words and the prog intro, no, keys thrown away, we didn't ask for so much before; the KNOPFLER-style country track which unfolds without fuss, filling out an already well-stocked album; the bells, finally, arrive with 11 High Hopes for this very visible title, where you dream of holding the hammer and hitting it without a false note; a crescendo with a solemn air in two steps to melt... ah but the proguous has already melted finally; Manichean, pompous, grandiloquent, Olympian such is this final title; a few bells, the hammer and we start again, this time with the slide guitar which will melt the hermit locked in his den; the finale with the bell, the bell, amazed in 1994...Yes listen to the last seconds it's never over with the FLOYDs.