Godrich and Waters didn’t push each other to break new ground as much as one might have hoped. The album even calls Godrich into question-tunes like “The Last Refugee” and “Is This the Life We Really Want?” are sometimes hard to tell apart from Sea Change-era Beck. Yes, the radio-style announcements at the top of “The Last Refugee” would indicate that Waters hasn’t stretched much beyond his now-predictable arsenal of sound effects. (Two years ago, he described the new material as his way of sending humanity a mediocre report card.) And to his credit, much of it comes across as both sincere and necessary-albeit draped in Waters’ habit of being preachy and pedantic. So it makes sense that Is This the Life answers back with a plea for sanity. To be fair, Waters was ahead of the curve in lamenting our attachment to media saturation on *Amused to Death-*modern life has basically become what that album anticipated. Depending on your perspective, this will either strike you as reassuringly familiar or maddeningly one-track minded-maybe even both. But aside from his 2005 opera Ça Ira, he’s still hung up on the same themes. Is This the Life leaves little doubt that Waters has seasoned in the 25 years since Amused to Death. And though Waters’ singing voice was already sounding nicely age-worn in ’92, here he switches with great agility between his usual confidence and a newfound frailty that recalls Johnny Cash’s final output. Without question, he would excel at doing radio theatre. Or was it God? Who gives a fuck it’s never really over.” Now craggy and deep, Waters’ speaking voice could probably give the late Orson Welles a run for his money. Then, after a slight pause: “Don’t answer that.” Another: “I’m still ugly you’re still fat.” Eventually, a train of thought begins to form: “Our parents made us who we are. “Where are you now?” asks one of the voices. At first, the words come tumbling down in a heap of unrelated gibberish. and Amused to Death.Īs the voices come into focus, you realize you’re hearing multiple tracks of Waters himself. His touch is immediately apparent from the outset, as Is This the Life opens with a ticking clock, bass played in the pulse of a heartbeat, and muffled voices-like Radiohead’s OK Computer interlude “Fitter Happier” meets the iconic intro to Pink Floyd’s The Dark Side of the Moon cut “Time.” Before you can make out what the voices are saying, their cadence and tones suggest a broadcast of some kind-a motif that runs through both Radio K.A.O.S. After all, Godrich’s signature sound has been a cornerstone in the legacies of Radiohead and Beck. Pre-orders for Is This The Life We Really Want? begin on Friday, April 21.On paper, his decision to work with famed producer Nigel Godrich for Is This the Life We Really Want? looks like a much-needed injection of new blood. Waters will embark next month on his lengthy Us + Them North American Tour. Waters’ follow-up to 1992’s Amused To Death also features Jonathan Wilson on guitar and keyboards, Gus Seyffert on bass, guitar and keyboards, Joey Waronker on drums, Roger Manning and Lee Pardini on keyboards and Lucius vocalists Jess Wolfe and Holly Laessig. On June 2, Columbia Records will issue a new Roger Waters solo album entitled Is This The Life We Really Want? The co-founding Pink Floyd bassist has shared new details regarding the LP, including its tracklist and performance credits.Īccording to a press release, the Nigel Godrich-produced record contains 12 newly penned original tracks featuring “unflinching commentary on the modern world and uncertain times,” that serve, “as a natural successor to classic Pink Floyd albums such as Animals and The Wall.” Waters earned vocal, bass and acoustic guitar credits, while Godrich also contributed arrangement, sound collages, keyboards and guitar.
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