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Pink Floyd - A Momentary Lapse of Reason CD (album) cover


Pink Floyd


Psychedelic/Space Rock

3.06 | 1908 ratings

From, the ultimate progressive rock music website

2 stars Where The Final Cut is often derided as a Roger Waters solo effort, I and others view A Momentary Lapse of Reason as a David Gilmour solo effort. Nick Mason's contributions to the album were minimal, and multiple outside songwriters were utilized.

Pink Floyd founding member Rick Wright was hired on as a session musician (legal issues blocked him from fully rejoining the band), but he barely did anything. By the time he had been brought on, most keyboard parts had already been recorded.

As I've mentioned at least twice now, A Momentary Lapse of Reason, released in 1987, is not a good album. However, it's stronger by a mile than The Final Cut and only marginally weaker The Wall. It has a few good songs, but its bad points are really, really bad.

AMLOR opens with "Signs of Life", an unfocused, meandering, but undeniably Floydian instrumental. This is followed by "Learning to Fly", the big single off the album. I was never the biggest fan of this song, as it feels like a ton of '80s cheese, but it's better than anything other than "Not Now John" off The Final Cut. For as much as I criticize the bluntness of Waters's lyrics, he's miles better than Gilmour with words, and even Gilmour's outside help can't write much of anything compelling.

Jesus, The Final Cut really set the bar low. At least I can write about the individual tracks on AMLOR.

"The Dogs of War" is one hell of a mixed bag. It's got a simple but imposing string motif the lends an air of doom and gloom. Gilmour's vocal performance is strong, and the song's overall starkness works well in its first half. But then the drums come in, and with them, super cheesy organ, guitar, and saxophone, all of which only cheapen the experience.

"One Slip" starts off as a pretty cool Mike Oldfield song, but it quickly turns into typical late-'80s art-schlock. There are some neat musical ideas here, but there's too much bloat and gloss to make it worthwhile.

"On the Turning Away" sounds like an outtake from The Wall, and I emphatically do not mean that as a compliment. It's not bad, but it's overly sentimental and too long. "Yet Another Movie" contrasts this quality by being needlessly grim and solemn, but I'll take that as an improvement.

The Vocoded spoken word of "A New Machine" is oddly alluring; it's disappointing that it doesn't lead to anything interesting. Gilmour's got a great voice, and feeding it through this synth makes for a unique atmosphere. But nothing special comes of it.

"Terminal Frost" is pure garbage, but "Sorrow" is pretty cool. Imposing, icy guitar looms over everything, and that harsh sterility is used to build ambiance. Sequenced synthesizers, understated rhythm guitar, and distant vocals are all hallmarks of Gilmour-Floyd (Gilmoyd? Gilmoyd.), and this is one of the highlights of this particular lineup.

Review originally posted here:

TheEliteExtremophile | 2/5 |


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