ABOUT FACE

Roger Waters' need to have something to say about political, social and human issues was not necessarily shared by David Gilmour, who was more motivated to focus on creating music for music's sake, prioritising melody and harmonic aspects over the brainy messages that the singer and bassist was determined to convey with Pink Floyd from "The Dark Side of the Moon" onwards.

And when "The Final Cut" ended up breaking an already fractured relationship between Waters and the rest of the band, Gilmour focused on developing his second solo album "About Face". A work that precisely reflects his attempt to express himself musically and without going beyond the mere fact of transmitting sensations, whether comforting or melancholic, which are generally very accessible.

Passages of sensitive and warm beauty mark the general spirit of the album, such as the initial acoustic chords of "Murder", or the luminous "Love on the Air" supported by the keyboard of Steve Winwood, one of the guests to collaborate in "About Face", or the emotionality of "Out of the Blue", or the jubilant harmony of "Cruise" with a final section of unexpected reggae rhythm.

The contrast comes with "Until We Sleep" and "All Lovers Are Deranged" (written by Pete Townshend), both songs with keyboards with a significant 80s industrial tone and Gilmour's very active electric guitar and, of course, being a member of Pink Floyd, one of the most influential bands on the rock planet, it was difficult for him to remain aseptic to all that this implied, and both "Blue Light" with its initial airs of "Run Like Hell" and the conclusive "Near the End", could fit perfectly in 'The Wall'.

Without being a masterpiece and without claiming to be one, "About Face" is a breath of fresh air from Gilmour to clear at least for a while an atmosphere full of conflicts.

3/3.5 stars