#pinkfloyd — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #pinkfloyd, aggregated by home.social.
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SONG OF THE WEEK “Josephine” by Tim Andrews a.k.a Chris Andrews
https://timchrisandrews.bandcamp.com/track/josephine#josephine #timandrews #chrisandrews #chamberpop #britpop #psychedelicrock #echoplex #harpsichord #beachboys #beatles #beegees #leftbanke #parlophone #abbeyroad #tonyhall #davidmackay #paulbuckmaster #eltonjohn #pinkfloyd #sydbarrett #clique #sugar #Sunday #tommyjames
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Ted Tocks Covers
Hey You
Originally posted on January 19, 2025
One this day in 1982 Pink Floyd premiered the film adaptation of ‘The Wall’.
“Hey, you!
Don’t tell me there’s no hope at all
Together we stand
Divided we fall”#PinkFloyd #RogerWaters #LutherWrightandtheWrongs #DeanWareham #DreamTheater #CelticPinkFloyd #TheBinghamtonCrosbys #Bobaflex #Barsie #SeedsofMary #Fleesh #BobGeldof
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Ted Tocks Covers
Hey You
Originally posted on January 19, 2025
One this day in 1982 Pink Floyd premiered the film adaptation of ‘The Wall’.
“Hey, you!
Don’t tell me there’s no hope at all
Together we stand
Divided we fall”#PinkFloyd #RogerWaters #LutherWrightandtheWrongs #DeanWareham #DreamTheater #CelticPinkFloyd #TheBinghamtonCrosbys #Bobaflex #Barsie #SeedsofMary #Fleesh #BobGeldof
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Ted Tocks Covers
Hey You
Originally posted on January 19, 2025
One this day in 1982 Pink Floyd premiered the film adaptation of ‘The Wall’.
“Hey, you!
Don’t tell me there’s no hope at all
Together we stand
Divided we fall”#PinkFloyd #RogerWaters #LutherWrightandtheWrongs #DeanWareham #DreamTheater #CelticPinkFloyd #TheBinghamtonCrosbys #Bobaflex #Barsie #SeedsofMary #Fleesh #BobGeldof
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Need some #PinkFloyd to get through the day? This would've been right after DSOTM was released.
The Pink Floyd Research Group is proud to unveil a 4k re-scan of the legendary Atlanta 1973 Super 8mm film, captured by cinematographer David Beals at Pink Floyd's show at the Municipal Auditorium, on March 24th, 1973.
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Need some #PinkFloyd to get through the day? This would've been right after DSOTM was released.
The Pink Floyd Research Group is proud to unveil a 4k re-scan of the legendary Atlanta 1973 Super 8mm film, captured by cinematographer David Beals at Pink Floyd's show at the Municipal Auditorium, on March 24th, 1973.
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Need some #PinkFloyd to get through the day? This would've been right after DSOTM was released.
The Pink Floyd Research Group is proud to unveil a 4k re-scan of the legendary Atlanta 1973 Super 8mm film, captured by cinematographer David Beals at Pink Floyd's show at the Municipal Auditorium, on March 24th, 1973.
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Need some #PinkFloyd to get through the day? This would've been right after DSOTM was released.
The Pink Floyd Research Group is proud to unveil a 4k re-scan of the legendary Atlanta 1973 Super 8mm film, captured by cinematographer David Beals at Pink Floyd's show at the Municipal Auditorium, on March 24th, 1973.
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Need some #PinkFloyd to get through the day? This would've been right after DSOTM was released.
The Pink Floyd Research Group is proud to unveil a 4k re-scan of the legendary Atlanta 1973 Super 8mm film, captured by cinematographer David Beals at Pink Floyd's show at the Municipal Auditorium, on March 24th, 1973.
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The lucrative but frustrating musical afterlife of The Rolling Stones, Pink Floyd and Bob Dylan – The Irish Times
There are downsides to the streaming revolution. The current arrangements are not ideal if you’re a musician who…
#NewsBeep #News #Music #AU #Australia #BobDylan #ElvisCostello #Entertainment #JoniMitchell #KeithRichards #Madonna #MickJagger #OliviaRodrigo #PaulMcCartney #PinkFloyd #RonnieWood #TheRollingStones #TomWaits #VanMorrison
https://www.newsbeep.com/au/795060/ -
The lucrative but frustrating musical afterlife of The Rolling Stones, Pink Floyd and Bob Dylan – The Irish Times
There are downsides to the streaming revolution. The current arrangements are not ideal if you’re a musician who…
#NewsBeep #News #Music #AU #Australia #BobDylan #ElvisCostello #Entertainment #JoniMitchell #KeithRichards #Madonna #MickJagger #OliviaRodrigo #PaulMcCartney #PinkFloyd #RonnieWood #TheRollingStones #TomWaits #VanMorrison
https://www.newsbeep.com/au/795060/ -
https://www.europesays.com/ie/581454/ The lucrative but frustrating musical afterlife of The Rolling Stones, Pink Floyd and Bob Dylan – The Irish Times #BobDylan #Éire #ElvisCostello #Entertainment #IE #Ireland #JoniMitchell #KeithRichards #madonna #MickJagger #Music #OliviaRodrigo #PaulMccartney #PinkFloyd #RonnieWood #TheRollingStones #TomWaits #VanMorrison
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Ted Tocks Covers
Astronomy Domine
Originally posted on February 27, 2022
Remembering Syd Barrett!
“Lime and limpid green, a second scene
A fight between the blue you once knew.
Floating down, the sound resounds
Around the icy waters underground”#pinkfloyd #sydbarrett #davidgilmour #rogerwaters #richardwright #nickmason #Voivod #nashtheslash #ClaypoolLennonDelirium
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"I don't think I'm easy to talk about. I've got a very irregular head. And I'm not anything that you think I am anyway."
Remembering Roger Keith Barrett who died today 7th July 2006
📸 Unknown MickRock (3)
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"I don't think I'm easy to talk about. I've got a very irregular head. And I'm not anything that you think I am anyway."
Remembering Roger Keith Barrett who died today 7th July 2006
📸 Unknown MickRock (3)
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20 years ago today, #SydBarrett, British guitarist and #singer- #songwriter ( #PinkFloyd, 1964-68 - "See Emily Play"; solo -"The Madcap Laughs"), died of #pancreaticcancer at 60.
#RIP 🕊️ -
20 years ago today, #SydBarrett, British guitarist and #singer- #songwriter ( #PinkFloyd, 1964-68 - "See Emily Play"; solo -"The Madcap Laughs"), died of #pancreaticcancer at 60.
#RIP 🕯 -
20 years ago today, #SydBarrett, British guitarist and #singer- #songwriter ( #PinkFloyd, 1964-68 - "See Emily Play"; solo -"The Madcap Laughs"), died of #pancreaticcancer at 60.
#RIP 🕯 -
TodoMal – Graveyards of Joy Review By OwlswaldOf all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.
Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.
TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.
Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.
Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.
Rating: Great!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
TodoMal – Graveyards of Joy Review By OwlswaldOf all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.
Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.
TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.
Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.
Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.
Rating: Great!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
Cobra303 – Pink Floyd - Another Brick In The Wall, Part Two (Cobra303 Reacid)
#303 #Electronic #London #acid #acidhouse #disco #ebm #electro #free #freedownload #nudisco #pinkfloyd #tb303 #UnitedKingdom
CC BY (#CreativeCommons Attribution) #ccmusic
https://cobra303.bandcamp.com/album/pink-floyd-another-brick-in-the-wall-part-two-cobra303-reacid -
Cobra303 – Pink Floyd - Another Brick In The Wall, Part Two (Cobra303 Reacid)
#303 #Electronic #London #acid #acidhouse #disco #ebm #electro #free #freedownload #nudisco #pinkfloyd #tb303 #UnitedKingdom
CC BY (#CreativeCommons Attribution) #ccmusic
https://cobra303.bandcamp.com/album/pink-floyd-another-brick-in-the-wall-part-two-cobra303-reacid -
Mes écoutes de la semaine du 22 June 2026
#ActorsArtificial, #AddNToX, #ApparatOrganQuartet, #TheBartlebees, #BoardsOfCanada, #Brassy, #BruitNoir, #JCarter, #TheCharlatans, #DedalusEnsemble, #Electrelane, #TheFall, #Femminielli, #BernardinoFemminielli, #FolkDevils, #BrigitteFontaine, #FrenchCowboy, #TheOne, #Fugu, #ElianaGlass, #HermanDuene, #Lalalar, #LucieVacarme, #TheLurkers, #PinkFloyd, #Pixies, #RienVirgule, #ServerFarms, #Stereolab, #SunnO, #Various, #VoodooQueens, #YoLaTengo
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Mes écoutes de la semaine du 22 June 2026
#ActorsArtificial, #AddNToX, #ApparatOrganQuartet, #TheBartlebees, #BoardsOfCanada, #Brassy, #BruitNoir, #JCarter, #TheCharlatans, #DedalusEnsemble, #Electrelane, #TheFall, #Femminielli, #BernardinoFemminielli, #FolkDevils, #BrigitteFontaine, #FrenchCowboy, #TheOne, #Fugu, #ElianaGlass, #HermanDuene, #Lalalar, #LucieVacarme, #TheLurkers, #PinkFloyd, #Pixies, #RienVirgule, #ServerFarms, #Stereolab, #SunnO, #Various, #VoodooQueens, #YoLaTengo
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Mes écoutes de la semaine du 22 June 2026
#ActorsArtificial, #AddNToX, #ApparatOrganQuartet, #TheBartlebees, #BoardsOfCanada, #Brassy, #BruitNoir, #JCarter, #TheCharlatans, #DedalusEnsemble, #Electrelane, #TheFall, #Femminielli, #BernardinoFemminielli, #FolkDevils, #BrigitteFontaine, #FrenchCowboy, #TheOne, #Fugu, #ElianaGlass, #HermanDuene, #Lalalar, #LucieVacarme, #TheLurkers, #PinkFloyd, #Pixies, #RienVirgule, #ServerFarms, #Stereolab, #SunnO, #Various, #VoodooQueens, #YoLaTengo
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Mes écoutes de la semaine du 22 June 2026
#ActorsArtificial, #AddNToX, #ApparatOrganQuartet, #TheBartlebees, #BoardsOfCanada, #Brassy, #BruitNoir, #JCarter, #TheCharlatans, #DedalusEnsemble, #Electrelane, #TheFall, #Femminielli, #BernardinoFemminielli, #FolkDevils, #BrigitteFontaine, #FrenchCowboy, #TheOne, #Fugu, #ElianaGlass, #HermanDuene, #Lalalar, #LucieVacarme, #TheLurkers, #PinkFloyd, #Pixies, #RienVirgule, #ServerFarms, #Stereolab, #SunnO, #Various, #VoodooQueens, #YoLaTengo
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Mes écoutes de la semaine du 22 June 2026
#ActorsArtificial, #AddNToX, #ApparatOrganQuartet, #TheBartlebees, #BoardsOfCanada, #Brassy, #BruitNoir, #JCarter, #TheCharlatans, #DedalusEnsemble, #Electrelane, #TheFall, #Femminielli, #BernardinoFemminielli, #FolkDevils, #BrigitteFontaine, #FrenchCowboy, #TheOne, #Fugu, #ElianaGlass, #HermanDuene, #Lalalar, #LucieVacarme, #TheLurkers, #PinkFloyd, #Pixies, #RienVirgule, #ServerFarms, #Stereolab, #SunnO, #Various, #VoodooQueens, #YoLaTengo
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concerto stupendo, avevo anche preso il dvd all'epoca 🙂
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concerto stupendo, avevo anche preso il dvd all'epoca 🙂
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concerto stupendo, avevo anche preso il dvd all'epoca 🙂
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concerto stupendo, avevo anche preso il dvd all'epoca 🙂
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Mortiis – Ghosts of Europa Review By Tyme
Mortiis has cut a swath through Norway’s music scene since 1992, beginning as the inaugural bassist for black metal pioneers Emperor. When Håvard “Mortiis” Ellefsen realized the blackened arts weren’t for him, he swapped his bass guitar for a keyboard and embarked on a journey that, six years and six full-length albums later, left him a progenitor and “Godfather” of dungeon synth. Over the following vicennial, Mortiis explored other musical outlets, from darkened synth-pop to industrial rock and murky ambient before returning to his dungeon synth roots with 2020’s Spirit of Rebellion. After revisiting the genre he helped found, Mortiis releases his 11th full-length album, Ghosts of Europa—in part shaped by a subsequently abandoned collaboration with Stephan Groth (Apoptygma Berzerk)—to pay homage to old German electronica, especially Tangerine Dream and Klaus Schulze. Mortiis took those early recordings and embarked on a six-year journey to transform them into Ghosts of Europa. Will Ghosts serve as the harbinger of Mortiis’s greatness, or be cursed to haunt the darkened shadows of Norwegian mediocrity?
Ghosts of Europa is sexy, spacy, and cinematic—a synth-forward record that draws from each of Mortiis’s electronic eras—moving from dungeon scenes to movie screens. Those familiar with Tangerine Dream’s ’80s “soundtrack” era,1 will feel that theatrical presence, in addition to early Enigma, Pink Floyd, and Dead Can Dance, in the windswept, dystopian synthscapes and expansive, Gregorian chant-inspired, Middle Eastern-influenced female wails of Ghosts’ more ambient moments (“Return to the Old Fields,” “Transcending Morpheus,” “Tribes of Dystopia”). When Ghosts of Europa shifts to straightforward, beat-driven electronics (“Ghosts of Europa,” 2 “Violent Silence”) it taps a Depeche Mode and Kraftwerk vein. Still, other Mortiis Era II specters haunt Ghosts’ halls on tracks like “Tundra, Heart of Hell,” an electro-rocker that channels She Wants Revenge and The Cult, just as “Farewell Romero” has a distinct Marilyn Manson feel to its slow, painful burn. Mortiis has reached the peak of his musical prowess, wielding a conductor’s control over his collaborators and delivering one of his most emotive albums.
Heaving with atmosphere, Ghosts of Europa punctuates its vast, sweeping sonicscapes with rich vocal textures and introspective lyrics. From the repetitive refrain “When we all fall down” that dominates the opening title track to the chorus on “The Faith That Fades Away” requesting “Leave me with my sins, leave me with my thoughts,” and on through “Farewell Romero”‘s painful admission “I found a way to kill some of the pain, like a warm and cleansing summer rain,” Ghosts’ lyrics serve as an apology to the relationships Mortiis admittedly damaged along the way.3 And to further execute his no-boundaries vision, Mortiis focused on vocal arrangements in a way he hasn’t on previous efforts, partnering with a cast ranging from Sarah Jezebel Deva (Cradle of Filth) and Illiana Tsakirake (Septicflesh) to Christopher Rakkestad (Elvarhøi, Bolverk) and Skinny Puppy’s Matthew Setzer,4 who join him and, along with a vocoder and some autotune modulation, cement completely the otherworldly experience Ghosts of Europa provides.
Effortlessly flowing and expertly paced, Ghosts of Europa is permeated with a laid-back melancholy, allowing Mortiis to undulate easily between extended ambient moments and more traditional synth-pop. This ebb and flow effectively renders Ghosts of Europa’s fifty-plus-minute runtime into something that feels much shorter. As with any great film, Ghosts of Europa begs to be heard in its linear totality, rather than having any of its constituent parts relegated to a cannibalized playlist, despite some of its more traditional moments being ripe for such compartmentalization. Mortiis has provided an experience akin to getting lost in any of his early, Era I dungeon albums, if that sparks you, but with dialogue and an impactfully matured, image-conjuring vivacity. I repeatedly found myself easily lost in the Neverending Story-like feel of Mortiis’s conjuration, enamored with every moment. My one critique is reserved for the album’s editing, which could easily be attributed to the product of the promo, but rests with the abrupt and awkward resolution of some of the tracks (“The Faith That Fades Away,” “Tundra, Heart of Hell,” and “Farewell, Romero”). Not nearly enough to ruin the experience, but worth mentioning.I have never felt FOMO for missing out on Mortiis’s back catalog. I’m not particularly fond of dungeon synth as a genre, and took minuscule note of Mortiis’s shift into more traditional territory nearly 26 years ago. I was very drawn, however, to the stark cover art of Ghosts of Europa and the soul-syncing feel of the album’s title track. The door I walked through after listening to the whole thing converted me. Ghosts of Europa has earned my highest rating this year to date, and I can only recommend that you all give it a chance as well.
Rating: 4.0/5.0
#2026 #40 #DarkSynth #DeadCanDance #DepecheMode #Enigma #GhostsOfEuropa #IndustrialRock #Jun26 #Kraftwerk #MarilynManson #Mortiis #Norwegian #PinkFloyd #ProphecyProductions #Review #SheWantsRevenge #TheCult
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Webstore
Releases Worldwide: June 26th, 2026 -
Mortiis – Ghosts of Europa Review By Tyme
Mortiis has cut a swath through Norway’s music scene since 1992, beginning as the inaugural bassist for black metal pioneers Emperor. When Håvard “Mortiis” Ellefsen realized the blackened arts weren’t for him, he swapped his bass guitar for a keyboard and embarked on a journey that, six years and six full-length albums later, left him a progenitor and “Godfather” of dungeon synth. Over the following vicennial, Mortiis explored other musical outlets, from darkened synth-pop to industrial rock and murky ambient before returning to his dungeon synth roots with 2020’s Spirit of Rebellion. After revisiting the genre he helped found, Mortiis releases his 11th full-length album, Ghosts of Europa—in part shaped by a subsequently abandoned collaboration with Stephan Groth (Apoptygma Berzerk)—to pay homage to old German electronica, especially Tangerine Dream and Klaus Schulze. Mortiis took those early recordings and embarked on a six-year journey to transform them into Ghosts of Europa. Will Ghosts serve as the harbinger of Mortiis’s greatness, or be cursed to haunt the darkened shadows of Norwegian mediocrity?
Ghosts of Europa is sexy, spacy, and cinematic—a synth-forward record that draws from each of Mortiis’s electronic eras—moving from dungeon scenes to movie screens. Those familiar with Tangerine Dream’s ’80s “soundtrack” era,1 will feel that theatrical presence, in addition to early Enigma, Pink Floyd, and Dead Can Dance, in the windswept, dystopian synthscapes and expansive, Gregorian chant-inspired, Middle Eastern-influenced female wails of Ghosts’ more ambient moments (“Return to the Old Fields,” “Transcending Morpheus,” “Tribes of Dystopia”). When Ghosts of Europa shifts to straightforward, beat-driven electronics (“Ghosts of Europa,” 2 “Violent Silence”) it taps a Depeche Mode and Kraftwerk vein. Still, other Mortiis Era II specters haunt Ghosts’ halls on tracks like “Tundra, Heart of Hell,” an electro-rocker that channels She Wants Revenge and The Cult, just as “Farewell Romero” has a distinct Marilyn Manson feel to its slow, painful burn. Mortiis has reached the peak of his musical prowess, wielding a conductor’s control over his collaborators and delivering one of his most emotive albums.
Heaving with atmosphere, Ghosts of Europa punctuates its vast, sweeping sonicscapes with rich vocal textures and introspective lyrics. From the repetitive refrain “When we all fall down” that dominates the opening title track to the chorus on “The Faith That Fades Away” requesting “Leave me with my sins, leave me with my thoughts,” and on through “Farewell Romero”‘s painful admission “I found a way to kill some of the pain, like a warm and cleansing summer rain,” Ghosts’ lyrics serve as an apology to the relationships Mortiis admittedly damaged along the way.3 And to further execute his no-boundaries vision, Mortiis focused on vocal arrangements in a way he hasn’t on previous efforts, partnering with a cast ranging from Sarah Jezebel Deva (Cradle of Filth) and Illiana Tsakirake (Septicflesh) to Christopher Rakkestad (Elvarhøi, Bolverk) and Skinny Puppy’s Matthew Setzer,4 who join him and, along with a vocoder and some autotune modulation, cement completely the otherworldly experience Ghosts of Europa provides.
Effortlessly flowing and expertly paced, Ghosts of Europa is permeated with a laid-back melancholy, allowing Mortiis to undulate easily between extended ambient moments and more traditional synth-pop. This ebb and flow effectively renders Ghosts of Europa’s fifty-plus-minute runtime into something that feels much shorter. As with any great film, Ghosts of Europa begs to be heard in its linear totality, rather than having any of its constituent parts relegated to a cannibalized playlist, despite some of its more traditional moments being ripe for such compartmentalization. Mortiis has provided an experience akin to getting lost in any of his early, Era I dungeon albums, if that sparks you, but with dialogue and an impactfully matured, image-conjuring vivacity. I repeatedly found myself easily lost in the Neverending Story-like feel of Mortiis’s conjuration, enamored with every moment. My one critique is reserved for the album’s editing, which could easily be attributed to the product of the promo, but rests with the abrupt and awkward resolution of some of the tracks (“The Faith That Fades Away,” “Tundra, Heart of Hell,” and “Farewell, Romero”). Not nearly enough to ruin the experience, but worth mentioning.I have never felt FOMO for missing out on Mortiis’s back catalog. I’m not particularly fond of dungeon synth as a genre, and took minuscule note of Mortiis’s shift into more traditional territory nearly 26 years ago. I was very drawn, however, to the stark cover art of Ghosts of Europa and the soul-syncing feel of the album’s title track. The door I walked through after listening to the whole thing converted me. Ghosts of Europa has earned my highest rating this year to date, and I can only recommend that you all give it a chance as well.
Rating: 4.0/5.0
#2026 #40 #DarkSynth #DeadCanDance #DepecheMode #Enigma #GhostsOfEuropa #IndustrialRock #Jun26 #Kraftwerk #MarilynManson #Mortiis #Norwegian #PinkFloyd #ProphecyProductions #Review #SheWantsRevenge #TheCult
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Webstore
Releases Worldwide: June 26th, 2026 -
SONG OF THE WEEK!“Holiday” by Kris Ryder a.k.a. Chris Andrews https://timchrisandrews.bandcamp.com/track/holiday-non-lp-single
#holiday #newwave #synthpop #krisryder #chrisandrews #andydesmond #miten #thekinks #andyjackson #pinkfloyd #britishrock
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SONG OF THE WEEK!“Holiday” by Kris Ryder a.k.a. Chris Andrews https://timchrisandrews.bandcamp.com/track/holiday-non-lp-single
#holiday #newwave #synthpop #krisryder #chrisandrews #andydesmond #miten #thekinks #andyjackson #pinkfloyd #britishrock
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David Gilmour’s opinion on Nick Mason
https://rockandrollgarage.com/david-gilmour-opinion-on-nick-mason/
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David Gilmour’s opinion on Nick Mason
https://rockandrollgarage.com/david-gilmour-opinion-on-nick-mason/
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Lynx – Trinity of Suns Review By Grin Reaper
Cards on the table—this review is late. Really late. We got the promo, but it went unclaimed, and it wasn’t until I picked up Lynx’s Trinity of Suns for personal enjoyment that I listened. Before I finished my first spin, I knew I had to Filter it. And that’s exactly what I did. I sat down to write my 200ish words about Lynx’s sophomore album, and the words spilled out. Too many, actually. I described how every subsequent journey through Trinity of Suns deepens my appreciation for Lynx’s retro rock, and soon I realized I had more to say than a limited word count would allow. Over the last month, Lynx has enraptured me with their sultry siren song, entrenching Trinity of Suns as a mainstay for commutes and chores. Rather than saving it as a Thing You Might Have Missed, though, I dared to write the counter-breaking missive I hoped my betters would permit. I begged. I cajoled. I cashed in the scant favors and political capital I’ve accrued since joining the staff to get this thing published. Was it worth it? If you’re reading these words, you’re damn right it was.
Between releasing 2021’s Watcher of Skies and follow-up Trinity of Suns, Lynx underwent a transformation I can only describe as transcendent. Huck N Roll offered some pointed criticism for their debut, a slab of 70s hard rock worship in the vein of Thin Lizzy and Blue Öyster Cult. Specifically, Huck noted that the songwriting was as unrefined as guitarist Marvin Keifer’s vocal performance, and the wanton surfeit of cymbals debilitated the listening experience. Five years later, Lynx obliterates whatever expectations listeners set based on Watcher of Skies. Most notably, Trinity of Suns introduces Amy Zine as full-time lead vocalist1—a decision that catapults Lynx’s potential into the Skies. Just as importantly, though, Lynx displays more restraint and maturity in their arrangements to wonderful effect.
Though the core of Lynx’s identity remains the same, the band deftly incorporates inspirations to elevate their sound. Rather than relegating the best moments to snappy intros, Trinity of Suns steeps its compositions in throwback, classic rock drama. “Stranger Sign in the Sky” boasts a Rushified break that harkens to “By-Tor and the Snow Dog,” while “Oppressive Season” starts with an intro that could pass for a lost Jimmy Buffet cut before tumbling into a Thin Lizzy tizzy. “Seven Days of Darkness,” meanwhile, melds the majesty of Pink Floyd psychedelia with the soulful intimacy of Tanith’s starkest emotional moments, eliciting a warm, heartfelt fuzz that pairs perfectly with the desert-ready palette Lynx paints with. The resulting thirty-nine minutes simmer with subtle heat, proving how the songwriting has evolved over the last half-decade.
\In addition to more fluid song structures, Lynx unchains stunning performances across Trinity of Suns. Amy Zine’s smoky vocals cut to my core, whether she’s belting out head-bopping choruses (“Island Universe”) or caressing with a tender croon (“Seven Days of Darkness”), and I simply cannot get enough. Still, as fabulous as her contributions are,2 they don’t carry Trinity of Suns alone. Everyone else in Lynx pitches in with guitars, though they’re primarily supplied by Tim Künz and Janni Athanasiadis. In addition to his gorgeous acoustic twangs on “Seven Days of Darkness,” Franz Fesel ably commands drums from the pocket while Phil Helm rumbles with luxurious yet understated bass. Honestly, Lynx’s low-end locks into such powerful grooves that Trinity of Suns would be undermined and underserved with a lesser performance, and if you need any convincing, go listen to the back-to-back tandem of “Oppressive Season” and “Trinity of Suns.”
Lynx is a band that understands the assignment, and Trinity of Suns should be enough to convince anyone that this kitty has claws. My only unfulfilled desire from Trinity of Suns is a three-minute banger nestled after “Voyager” or “Oppressive Season” where the entire band goes hog-fucking-wild. “Oppressive Season” comes closest, though holds back enough to avert the pandemonium I crave. With the talent Lynx brandishes, I’d love to hear them cut completely loose. Otherwise, Trinity of Suns accomplishes everything I want from a band of Lynx’s ilk, and each time “Island Universe” concludes, I’m left even more smitten. Whatever these cats do next, I’ll be there.
Rating: Great!
#2026 #40 #Apr26 #BlueOysterCult #DyingVictimsProductions #GermanMetal #HardRock #HeavyMetal #JimmyBuffet #Lynx #PinkFloyd #Review #Reviews #Rush #Tanith #ThinLizzy #TrinityOfSuns
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026 -
Lynx – Trinity of Suns Review By Grin Reaper
Cards on the table—this review is late. Really late. We got the promo, but it went unclaimed, and it wasn’t until I picked up Lynx’s Trinity of Suns for personal enjoyment that I listened. Before I finished my first spin, I knew I had to Filter it. And that’s exactly what I did. I sat down to write my 200ish words about Lynx’s sophomore album, and the words spilled out. Too many, actually. I described how every subsequent journey through Trinity of Suns deepens my appreciation for Lynx’s retro rock, and soon I realized I had more to say than a limited word count would allow. Over the last month, Lynx has enraptured me with their sultry siren song, entrenching Trinity of Suns as a mainstay for commutes and chores. Rather than saving it as a Thing You Might Have Missed, though, I dared to write the counter-breaking missive I hoped my betters would permit. I begged. I cajoled. I cashed in the scant favors and political capital I’ve accrued since joining the staff to get this thing published. Was it worth it? If you’re reading these words, you’re damn right it was.
Between releasing 2021’s Watcher of Skies and follow-up Trinity of Suns, Lynx underwent a transformation I can only describe as transcendent. Huck N Roll offered some pointed criticism for their debut, a slab of 70s hard rock worship in the vein of Thin Lizzy and Blue Öyster Cult. Specifically, Huck noted that the songwriting was as unrefined as guitarist Marvin Keifer’s vocal performance, and the wanton surfeit of cymbals debilitated the listening experience. Five years later, Lynx obliterates whatever expectations listeners set based on Watcher of Skies. Most notably, Trinity of Suns introduces Amy Zine as full-time lead vocalist1—a decision that catapults Lynx’s potential into the Skies. Just as importantly, though, Lynx displays more restraint and maturity in their arrangements to wonderful effect.
Though the core of Lynx’s identity remains the same, the band deftly incorporates inspirations to elevate their sound. Rather than relegating the best moments to snappy intros, Trinity of Suns steeps its compositions in throwback, classic rock drama. “Stranger Sign in the Sky” boasts a Rushified break that harkens to “By-Tor and the Snow Dog,” while “Oppressive Season” starts with an intro that could pass for a lost Jimmy Buffet cut before tumbling into a Thin Lizzy tizzy. “Seven Days of Darkness,” meanwhile, melds the majesty of Pink Floyd psychedelia with the soulful intimacy of Tanith’s starkest emotional moments, eliciting a warm, heartfelt fuzz that pairs perfectly with the desert-ready palette Lynx paints with. The resulting thirty-nine minutes simmer with subtle heat, proving how the songwriting has evolved over the last half-decade.
\In addition to more fluid song structures, Lynx unchains stunning performances across Trinity of Suns. Amy Zine’s smoky vocals cut to my core, whether she’s belting out head-bopping choruses (“Island Universe”) or caressing with a tender croon (“Seven Days of Darkness”), and I simply cannot get enough. Still, as fabulous as her contributions are,2 they don’t carry Trinity of Suns alone. Everyone else in Lynx pitches in with guitars, though they’re primarily supplied by Tim Künz and Janni Athanasiadis. In addition to his gorgeous acoustic twangs on “Seven Days of Darkness,” Franz Fesel ably commands drums from the pocket while Phil Helm rumbles with luxurious yet understated bass. Honestly, Lynx’s low-end locks into such powerful grooves that Trinity of Suns would be undermined and underserved with a lesser performance, and if you need any convincing, go listen to the back-to-back tandem of “Oppressive Season” and “Trinity of Suns.”
Lynx is a band that understands the assignment, and Trinity of Suns should be enough to convince anyone that this kitty has claws. My only unfulfilled desire from Trinity of Suns is a three-minute banger nestled after “Voyager” or “Oppressive Season” where the entire band goes hog-fucking-wild. “Oppressive Season” comes closest, though holds back enough to avert the pandemonium I crave. With the talent Lynx brandishes, I’d love to hear them cut completely loose. Otherwise, Trinity of Suns accomplishes everything I want from a band of Lynx’s ilk, and each time “Island Universe” concludes, I’m left even more smitten. Whatever these cats do next, I’ll be there.
Rating: Great!
#2026 #40 #Apr26 #BlueOysterCult #DyingVictimsProductions #GermanMetal #HardRock #HeavyMetal #JimmyBuffet #Lynx #PinkFloyd #Review #Reviews #Rush #Tanith #ThinLizzy #TrinityOfSuns
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026 -
https://www.youtube.com/watch?v=WmsE8Ssmto8
L'autrice di questa animazione ha 16 anni. C'è ancora speranza in questo mondo.
#pinkfloyd
#davidgilmour
#rogerwaters
#richardwright
#nickmason
#sydbarret -
For this week's #ThursdayFiveList, we're going acoustic: #AcousticGuitarsWave
First off, one of those really great songs
#Ren - Hi Ren
https://www.youtube.com/watch?v=s_nc1IVoMxcCan't do acoustic guitars without
#RodrigoYGabriela - Hanuman
https://www.youtube.com/watch?v=ENBX_v1Po1YI thought of going with Animals, but I've just had that last week, so
#PinkFloyd - Wish You Were Here
https://www.youtube.com/watch?v=84Tq-eAJIk4Another all-time favourite:
#PorcupineTree - Trains
https://www.youtube.com/watch?v=ut3OQzfaeSwAnd, another classic
#EricClapton - Layla (unplugged)
https://www.youtube.com/watch?v=kseSoguuiCs
