Το κείμενο που ακολουθεί, το ανέσυρα από το παρελθόν. Το έγραψα την εποχή που συμμετείχα σε ένα yahoo group για τους Pink Floyd και είναι η διήγηση μιας ιστορίας (ας την πούμε) που φτιάχτηκε στο μυαλό μου ακούγοντας το αγαπημένο Echoes των Pink Floyd, στη στουντιακή του εκδοχή. Δεδομένου πως απευθυνόταν σε αγγλόφωνους, είναι γραμμένο στα αγγλικά και αναδημοσιεύεται όπως γράφτηκε τότε, χωρίς διορθώσεις.
Το κείμενο αυτό αναρτάται στη μνήμη του κιμπορντίστα του συγκροτήματος, του Richard Wright ο οποίος, αν ζούσε σήμερα, θα είχε γενέθλια.
Echoes – A narration of the song (Studio version)
A ping. Then another one. Little by little, the soundscape is filled with strange, dissociated sounds without meaning nor organization.
And, suddenly, Dave’s guitar plays just a single sliding. And suddenly, the meaning of all these little strange sounds is revealed to you. They were organized since the beginning, but it’s only now that you get it. A serene moment follows where Echoes main theme is developing, presenting itself. Broken by Nick’s drum invasion the theme ends with a meditation.
Meditation is a keyword in Echoes. The melody is meditating, the instruments are meditating, the music itself is meditating, as if they had life of their own. And then, it’s like each one is playing independently, on his own. Yet they all together play in harmony, being part of a mystical communion. Meditation and communion of music are to be repeated in “Dark Side of the Moon” and “Wish you were here”.
It’s like that that Echoes main them is exposed a second time immediately after the first exposition, but now it’s different. This process of thinking over itself has altered it.
Voice is the new addition to the theme that has know reached a sufficient maturity. It is repeated but it’s after the lyrics’ end we can see the change. The drums and the bass “attack”, while the organ and the guitar agoniously try to keep on. Bass and drums recess to give the guitar the opportunity to comment over Echoes theme. Dave’s guitar is actually singing while feelings are escalating from a melancholic thought to pain and then agony: bass and drums are attacking again. The “phantom of the opera theme”, with its downward melody is relentless and definitive. The guitar is struggling to overcome it and to keep is agonizing song going.
The struggle is interrupted. The band is now playing jazz. Again, each one plays his own melody, narrating his own story, living his own life. They hear like isolated, but are they?
As the jazz music is fading out, the soundscape changes to a desert. The wind blows, as the creatures are crying out to the god (to the Sun maybe?) as they struggle for survival.
Is it that vital forces have won and begin to breed life or we are getting out of the desert soundscape to get back to a fertile place? We can only say that little by little, the vital forces are taking up the instruments, and music is raising up: simple motifs and musical schemes is all we hear. We are witnessing the birth of Echoes theme as it grows up from its embryonic form. Escalation to the maximum peak takes place as the moment of the birth arrives. The main theme is back. Were we back in time where it all began or was it destroyed to be built up again?
The relentless bass is coming back again. Now it’s the organ that resists its omnipotence but not for long. As the battle that began in the first part is raging, music is going higher, and higher, and higher until it reaches a peak where things can not go further anymore. And it explodes.
Everything has finished. The soundscape has changed again along with our perspective: all this time we’ve been in a trip on a music land and now we are going away. Our trip has ended, everything is over, only memories remain. The guitar and the organ talk to each other gently over their memories, bass and drums sustaining. The sound of a plane is marking our departure as the memories are fading away….