Roger Waters’ first release of new material in nearly twenty-five years opens with monologue, a technique that has developed into a comforting hallmark of his work in the studio and on stage. 
Continuing with the unabashed harkening back to Pink Floyd’s middle years, the album’s second track is aptly titled “Déjà Vu”.  This phrase is an appropriate summation of the listening experience throughout the entirety of Is This the Life We Really Want? of anyone familiar with Waters’ work.  “Déjà Vu” alone felt like a montage and mash-up of “Gunner’s Dream” (off of 1983’s The Final Cut) and many of the memorable motifs of both Wish You Were Here (1975) and The Wall (1979).  That is not to say that the lyricism of this record is still looking to the past—quite the contrary, with references to the lifelessness that characterizes drone strikes and the hilarious lyric “Wish You Were Here in Guantanamo Bay” both appearing early on. 
Nigel Godrich’s crystal-clear production captures with authenticity the atmospheric quality that has characterized much of the most affecting work of Waters’ past recordings, but the sidemen of this project leave a lot to be desired in the way of expression.  With melodic construction that is similar to the work of Floyd, the lackluster performances on keyboards and guitar are quite glaring. 
The album hits an impressive stride and acquires its own vigor on the eponymous track. 
The fact that Waters is able to put an album of this quality together on well-trodden ground is a testament to the impressive body of work he has released thus far.  Innovation would be quite exciting from Mr Waters, but his fans are obviously not tired of the classics—and neither is he.  
DJ 440