The Trial

See also: Trial (homonymy)

The Trial is a song of the group of progressive Rock Britannique Pink Floyd and appears on the album The Wall left in 1979.

In this song, which borrows as well from a kind of delirious opera as to the massive and assumed use of a symphony orchestra, Pink puts in scene its own lawsuit, after being given an account of this madness which has it pleasing in a fascistic speech and oppressor ( In the Flesh , Waiting for the Worms ).

Analyzes

Thus crowning its mental derangement, The Trial represents the acme and the conclusion of the album and the history of Pink. This last utilizes before a whole grotesque lawyer, flatterer and terrifying, which shows Pink to have shown “feelings of human nature”. The lawyer calls with the bar professor de Pink, that of Another Brick in the Wall , which copiously shows the central figure, who is nothing any more but one headstock of rag without face and impotent, maltreated by these nightmarish figures drawn by Gerald Scarfe (visible images in the film). Then the wife comes from Pink, represented like a Mante nun, which overpowers this last, then which is transformed into mother of Pink, surprotectrice, choking her son. The judge appears then, in the form of posterior human grimé as a magistrate and speaking by his anus. From its monstrous teeth and recrachant refuse on refuse, he concludes all the lawsuit while declaring Pink guilty and by condemning it to cut down his wall ( tear down the wall! ). One hears at the end of the piece collapse of the wall, accompanied by a cry of pain.

Completely delirious piece, concerning with morbid and painful introspection, The Trial is thus at the same time the moment when Pink reaches the paroxysm of its madness and sound enfermement but also the unhoped-for delivery which destroys the wall. The Trial recapitulates about all that alienated Pink (its childhood choked by his/her mother, the oppressive school system, conflict relations with its wife, its statute of inaccessible rock'n'roll star) and causes a tearing release, with the image of this final cry, but which makes it possible to the hero to see what there is behind the wall.

Composition

Enough complexes in its composition, this song leaves most of the time the place to the voice of Roger Waters, which incarnates the various characters more or less, with intonations of caricatural voices to underline the delirious and unreal aspect of the scene. The refrain utilizes a powerful chorus women, reinforcing the aspect court and public of this car-judgment. The fine fact of superimposing a dynamic orchestra near to the opera, the massive guitar of David Gilmour and hundreds of voice shouting tear down the wall , like a gigantic slogan of stage or meeting, then the wall collapses and the music of Outside the Wall is made hear in dissolve.

Whereas the majority of the songs of the album were written by Roger Waters, which very lengthily worked on the concept, the words and the music, this piece exists thanks to the contribution of Bob Ezrin, producer of the disc but also musician who brought the rare “traditional” sides that The Wall comprises. This piece is only album with being also complex and worked, as much in the voices that in the orchestration, all the remainder of The Wall being written in order to be played by the group alone (low Guitare//battery/keyboard S), even if, on scene, during the short round, the concept imagined by Waters included a second identical quartet on scene, to underline the aspect marionette of the rock' roll system and also to humanly make it possible to hold the two long hours which the representation of integral work lasted.

Personnel

Bonds

  • Official site of Pink Floyd
  • Official site of Roger Toilets
  • Official site of David Gilmour

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