Pink Floyd’s career trajectory resembles that of a comet blazing across the night sky and heading for a final encounter with the sun. It first gained luminance in the 1960s and glowed brightest in the 70s.

In the same way that those enigmatic cosmic snowballs lose layers of material and shrink as they move ever nearer to the sun, so too have Pink Floyd gradually diminished in structure; first with the departure of Roger Waters in 1985, and then the death of Richard Wright in 2008.

The Endless River, Pink Floyd’s just released studio album and the first new music from the British rock group in 20 years, probably represents the final spark of brightness as the band’s comet nears its terminal rendezvous. Shorn of Waters, devoid of lyrics (bar the final track Louder than Words), the double album must be viewed as the Pink Floyd’s swan song, albeit an accidental one.

At the heart of The Endless River are unused recordings made 21 years ago during rehearsal sessions by David Gilmour, Nick Mason and the late Wright as they worked on the band’s last studio album, 1994’s The Division Bell.

In many ways the album is a tribute to the immense contribution keyboard player Wright made to the Pink Floyd sound. Gilmour and Mason revisited the instrumental recordings, a mixture of odds and ends, and have added to and enhanced them to create what Gilmour has referred to as a “21st Century Pink Floyd album”.

The instrumental music flows from track to track for 53 minutes. It is a concept album in an age where such things no longer exist. In a world of playlists and iPod shuffles, here is a record to be listened to from start to finish, designed as if the 33rpm vinyl LP had never fallen out of favour; an album designed to have the needle dropped on track one and left to play uninterrupted — preferably with the lights dimmed, or off, for maximum impact.

Across the four sides (yes, four) there are echoes of signature musical moments from the group’s extensive career. Tracks four on both side 2 and side 3, titled Anisina and Allons-y (1) are dreamily memorable, as is the album’s second track It’s What We Do, which most strongly carries Pink Floyd’s distinctive musical DNA.

On two tracks voice samples have been added; the intriguing opening track Things Left Unsaid, which could quite easily have been at home on any of Pink Floyd’s previous studio albums, and Talkin’ Hawkin’, a reprise of Keep Talking from The Division Bell complete with voice samples from physicist Stephen Hawking.

Whether The Endless River will be of interest to, or have any relevance for, today’s generation of young music consumers is debatable. There has been support for the record, which topped many countries’ charts in its opening week, likely due to older fans eager to hear anything ‘new’ from the band after two decades of silence — a silence broken only by the one-off reunion of Waters, Gilmour, Mason and Wright at Live8 in 2005.

When Gilmour gives voice to Louder Than Words, the floating, poignant last track on The Endless River, one is left to reflect on the crazy diamond musical journey Pink Floyd have taken us on, starting in 1967 with the now long departed co-founding member Syd Barrett, and onwards through the decades that followed. Listening to Pink Floyd’s back catalogue is to take a journey back through the last 40-odd years of your life.

Gilmour has stated he is “pretty certain” that The Endless River will be the group’s last new music.

When Louder than Words fades out at the end of the album, it represents the moment the comet jettisons its final layer of ice and rock and Pink Floyd are gone.