It's a Shame but it's the Last || Into the last release of Pink Floyd

The final tunes of this great artwork were given the final shape in The Royal Albert Hall where Gilmour and Mason returned to series of ambient, lyricless recordings from the same period as Pink Floyd's last album, 1994's 'The Division Bell,' to complete 'The Endless River.'Pink Floyd has confirmed the release of its 15th studio album, ‘The Endless River,’ due on November 10. The project, which finds David Gilmour and Nick Mason completing work on previously unreleased sessions with the late Rick Wright, will be co-produced by Phil Manzanera, Youth and Andy Jackson. 

The Endless River was first mentioned in High Hopes of The Division bell "The dawn mist glowing/The water flowing/The endless river/Forever and ever" AS David Gilmour says"The Endless River is a continuous flow of music that builds gradually over four separate pieces over the 55-odd minutes. There’s a sort of continuum from the Division Bell album to this, and the last phrase but one on The Division Bell is 'the endless river' "

The only concept of The endless river according to Gilmoour is, He playing together with Rick Wrights and Nick Mason, the same way that things worked in past, and the way that is familiar to us.The band being covered with redundant hassle for long, couldnot part themselves from releasing The Endless river, which may be the last works of Rick Wrights, before his demice. there was a bond that connected them which is above all the hysteria revolving with Pink floyed post Division Bell. 

It is very evedient form the fact that The absence of Rick is always mentioned by all the band players, including former band member, Roger waters. 

Mason on an interview with says, "I think Rick would be thrilled actually. I think this record is rather a good way of recognizing a lot of what he does. I think the most significant element was really actually hearing what Rick did, because, having lost Rick, it was that thing of… it really brought home what a special player he was."

The title of the album is also intended to partly represent Pink Floyd’s enduring creativity.

The way in which the band take an idea, before “extending it, exploring it and doing something that’s slightly outside the normal pop song, pop industry length of song piece or whatever,” says Nick Mason.

Polly Samson, spouse of the Band lead Gutarist David Gilmour gave the lyrics of The most celebrated song from the new Album "Louder Than Words" premiered on U.K. radio Thursday.  

The opening notes goes  – ringing church bells – recall the closing sounds from The Division Bell's "High Hopes." "We bitch and we fight / Diss each other on sight / But this thing we do," Gilmour sings over a rhythm reminiscent of a more upbeat "Hey You," his voice seemingly unchanged from 1994."With world weary grace / We’ve taken our places / We could curse it or nurse it or give it a name / Louder than words/ this thing that we do," sings the group. Around the 3:30 mark, we will have Gilmour launches into one of his trademark Pink Floyd guitar solos, possibly for the last time.

"This is one of the pieces of music that seemed fairly complete as an idea for a song, and Polly came up with the idea for 'Louder Than Words' as something that describes what we achieve when we make the music that we make," Gilmour continued in interview with RS. 

"Neither Rick nor I are the most verbal people and so Polly was thinking it was very appropriate for us to express what we do through the music, but she’s helping us describe it in words as well."The Endless River also features contributions from physicist Stephen Hawking, whose "voice" appears on the track "Talkin' Hawkin'" two decades after he graced Division Bell's "Keep Talkin'," as well as songwriters Anthony Moore and Samson. 

David Gilmour on a final statement conveys that: 'It's a Shame, but This Is the End'"I think we have successfully commandeered the best of what there is," says longtime member. "I suspect this is it". On other occasion The singer-songwriter has issued a note on Facebook to remind his fans 

that, while Pink Floyd are indeed issuing their first record in 20 years – the instrumental record The Endless River – he had no role in making it. 

Being the greatest musical author of Humankind, the narrative of Pink Floyd didn't deserve its closure in such a poignant way. I feel pain to see it all end.

Reference: The Rolling Stone, The Ultimate Classic Rock

The Piper At The Gates Of Dawn

Legends narrate that, lysergic prophet Timothy Leary used to dose the drinks at parties with LSD, but it might not have been necessary. The radical cultural shift of 1960s already made recreational Drugs a symbol of Taboo. By 1967, year of the Summer of Love, the free spirited bohemians made their a valiant bid to supplant the dominant culture, and in retrospect a strong case can be made that the counter-culture won. Like  enclave of San Fransisco , the whole USA, Canada and Europe became even more of a melting pot of politics, drugs, music, creativity, and the total lack of sexual and social inhibition than it already was.

The symbolic forefront of the insurrection in Britain were acts like Pink Floyd, till the the paraphernalia of the Under Ground music. Their musical  psychedelic drugs was a toast to Paul McCartney's journey to the zenith, but they never claimed to be recognised as the harbinger of the revolution. The cornered psychotropic musicians,   became the leaders to their fellow traveler with their ravishing debut  The Pipers at the gates of dawn. The world got a sonic, kaleidoscopic sound that echoed through the brain and heart of silence society. 

Piper was recorded at Abbey Road at the same time the Beatles were there recording Sgt. Pepper's Lonely Hearts Club Band, but the results couldn't have been more at odds with one another. Where the Beatles exerted complete control over the tools of the studio, Pink Floyd used the studio to lose control. It didn't hurt that the band's primary songwriter and visionary Syd Barrett was on the verge of permanently losing control himself. Less than a year after the release of Piper, in 1967, Barrett was out of the band, one of the most prominent and tragic casualties of the rock era. Of course, while Barrett lived out the remainder of his life as one of the psychedelic age's walking wounded, Pink Floyd went on to much bigger (if not necessarily) better things.

The first side opens with the outer space chatter of a thousand space missions intoning the names of the stars and we’re plunged in to a prime slice of mid-sixties freak-out territory. Syd’s guitar is fabulously lithe. There follows a series of tales of cats, silver shoes, unicorns, mice called Gerald, bikes, gnomes, scarecows and the I Ching. Sounds horrible, doesn’t it? But in 1967 this was fresh and new, and what’s more it’s delivered utterly charmingly and with no hint of received American pronunciation merely to be cool. It’s been said before, but this is Edward Lear for the acid generation.

Then in the black hole between these tracks we get Syd’s other side, the shining, blasted sci fi tones of his guitar rumbling through the extended work out of “Interstellar Overdrive”. 

This is the paradox with Barrett. He could seemingly write material that was both poppy and deeply out there with ease. Who knows how the Floyd would have sounded had he held on. Definitely different that’s for sure. But Piper remains a testament to a mind that, for a brief spell, saw no boundaries…