The New York Times:
The results are almost entirely instrumental, structured as four “sides” or movements, an effort that Mr. Gilmour insists will be the final music released under the name Pink Floyd. Lovely passages alternate with segments that feel static and a bit dull. Parts of “The Endless River” clearly evoke some of the band’s much-loved instrumental freak-outs, like “Echoes” or “Shine On You Crazy Diamond,” but the new songs can’t match the urgency and intensity of those space odysseys.
More than halfway through the album, “Allons-Y (1)” breaks out into a gallop that recalls “Run Like Hell” from 1980’s “The Wall,” and you can practically hear millions of fans sigh with relief, though Mr. Gilmour’s distinctive, slicing tone feels a bit softer, more burnished throughout. The most interesting element of “The Endless River” may be that of Mr. Wright’s keyboards; his role in the group was always a bit hidden and underappreciated, but there are moments where he plays a certain chord and suddenly the sound of Pink Floyd snaps into focus.
Stephen Hawking’s computerized voice turns up on “Talkin’ Hawkin’,” testifying to the power of communication (“All we need to do is make sure we keep talking”), but the only song with actual sung vocals is the final track, the single “Louder Than Words.” The lyrics, by Mr. Gilmour’s wife, the novelist Polly Samson, call for acceptance and camaraderie. (“The sum of our parts/The beat of our hearts/Is louder than words.”) It’s a fine concluding statement on the career of a revolutionary, fractious band, but it also reveals the limitations of Pink Floyd after Mr. Waters’s departure: Great sound can’t fully overcome flabby structure.
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Wenn ich meinen Hund beleidigen will nenne ich ihn Mensch. (AS) „Weißt du, was ich manchmal denke? Es müsste immer Musik da sein. Bei allem was du machst. Und wenn's so richtig Scheiße ist, dann ist wenigstens noch die Musik da. Und an der Stelle, wo es am allerschönsten ist, da müsste die Platte springen und du hörst immer nur diesen einen Moment.“