#pinkfloyd — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #pinkfloyd, aggregated by home.social.
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Just absolutely fantastic in every way.
Ask Carol improv on Pink Floyd's Shine on you crazy diamond.
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Just absolutely fantastic in every way.
Ask Carol improv on Pink Floyd's Shine on you crazy diamond.
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Just absolutely fantastic in every way.
Ask Carol improv on Pink Floyd's Shine on you crazy diamond.
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Just absolutely fantastic in every way.
Ask Carol improv on Pink Floyd's Shine on you crazy diamond.
-
Just absolutely fantastic in every way.
Ask Carol improv on Pink Floyd's Shine on you crazy diamond.
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Crown Lands – Apocalypse Review
Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit…
#NewsBeep #News #Music #2026 #3.0 #apocalypse #CA #Canada #CanadianMetal #CrownLands #Entertainment #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #review #reviews #Rock #rush
https://www.newsbeep.com/ca/668995/ -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
6 songs David Gilmour picked as some of his favorites of all time
https://rockandrollgarage.com/6-songs-david-gilmour-picked-as-some-of-his-favorites-of-all-time/
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6 songs David Gilmour picked as some of his favorites of all time
https://rockandrollgarage.com/6-songs-david-gilmour-picked-as-some-of-his-favorites-of-all-time/
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6 songs David Gilmour picked as some of his favorites of all time
https://rockandrollgarage.com/6-songs-david-gilmour-picked-as-some-of-his-favorites-of-all-time/
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6 songs David Gilmour picked as some of his favorites of all time
https://rockandrollgarage.com/6-songs-david-gilmour-picked-as-some-of-his-favorites-of-all-time/
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6 songs David Gilmour picked as some of his favorites of all time
https://rockandrollgarage.com/6-songs-david-gilmour-picked-as-some-of-his-favorites-of-all-time/
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@joacim När du skall göra, vill göra, behöver göra eller gör, precis vad som helst soundtrack.
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@joacim När du skall göra, vill göra, behöver göra eller gör, precis vad som helst soundtrack.
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@joacim När du skall göra, vill göra, behöver göra eller gör, precis vad som helst soundtrack.
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@joacim När du skall göra, vill göra, behöver göra eller gör, precis vad som helst soundtrack.
-
@joacim När du skall göra, vill göra, behöver göra eller gör, precis vad som helst soundtrack.
-
Five rock musicians that Roger Waters truly can’t stand
Credit: Far Out / Brennan Schnell / Brennan Schnell Tue 12 May 2026 16:30, UK Roger Waters is…
#NewsBeep #News #Music #Bono #Drake #Entertainment #OzzyOsbourne #PinkFloyd #RogerWaters #SexPistols #theweeknd #UK #UnitedKingdom
https://www.newsbeep.com/uk/581120/ -
https://www.europesays.com/uk/955892/ Nick Mason said Pink Floyd made their “roughest” album in 1977 #DavidGilmour #Entertainment #music #NickMason #PinkFloyd #RogerWaters #UK #UnitedKingdom
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🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🚀 (Krautrock & space rock)
──────────────
🎵 Pink Floyd - Obscured by Clouds▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE#VortexWave #PinkFloyd #ProgressiveRock #PsychedelicRock #70s
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The Fletcher Memorial Home 🏠
#PinkFloyd
https://www.youtube.com/watch?v=zDDzR2zSgsM -
The Fletcher Memorial Home 🏠
#PinkFloyd
https://www.youtube.com/watch?v=zDDzR2zSgsM -
The Fletcher Memorial Home 🏠
#PinkFloyd
https://www.youtube.com/watch?v=zDDzR2zSgsM -
The Fletcher Memorial Home 🏠
#PinkFloyd
https://www.youtube.com/watch?v=zDDzR2zSgsM -
The Fletcher Memorial Home 🏠
#PinkFloyd
https://www.youtube.com/watch?v=zDDzR2zSgsM -
Sammy Hagar is secretly a “prog guy” who adores one particular band
Credit: Far Out / Sammy Hagar Mon 11 May 2026 19:25, UK Lucky for Sammy Hagar, his first…
#NewsBeep #News #Celebrities #Entertainment #PinkFloyd #SammyHagar #UK #UnitedKingdom
https://www.newsbeep.com/uk/579421/ -
https://www.europesays.com/uk/953193/ The 1967 song Pink Floyd never wanted to play live #DavidGilmour #Entertainment #music #PinkFloyd #RichardWright #RogerWaters #UK #UnitedKingdom
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Pink Floyd – Mother
https://wgom.org/2026/05/10/pink-floyd-mother-2/ -
#BatterseaBowl spielten gestern #PinkFloyd in #Erfurt - das erste Heimspiel! Die #Michaeliskirche war gut gefüllt. Die Basisgemeinde #OffeneArbeitErfurt hatte im Rahmen ihres Jahresfests #Werkstatt2026 unter dem Motto #Lichtblicke26 zu diesem besonderen #Konzert eingeladen.
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“On The Run” spiegato bene da David Gilmour
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“On The Run” spiegato bene da David Gilmour
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“On The Run” spiegato bene da David Gilmour
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Ein Jahr später habe ich, als 11-jähriger im KH das erste Mal von der #band dieses #lied gehört und war geflasht
#pinkfloyd hat m. M. n. ein Wahnsinnswerk geschaffen
On this day in 1973, Money was released as a single in the US #pinkfloyd
https://youtube.com/shorts/XrO8d4VlzAQ?is=26huk-xxpBYn-Ufa -
Ein Jahr später habe ich, als 11-jähriger im KH das erste Mal von der #band dieses #lied gehört und war geflasht
#pinkfloyd hat m. M. n. ein Wahnsinnswerk geschaffen
On this day in 1973, Money was released as a single in the US #pinkfloyd
https://youtube.com/shorts/XrO8d4VlzAQ?is=26huk-xxpBYn-Ufa -
Ein Jahr später habe ich, als 11-jähriger im KH das erste Mal von der #band dieses #lied gehört und war geflasht
#pinkfloyd hat m. M. n. ein Wahnsinnswerk geschaffen
On this day in 1973, Money was released as a single in the US #pinkfloyd
https://youtube.com/shorts/XrO8d4VlzAQ?is=26huk-xxpBYn-Ufa -
Ein Jahr später habe ich, als 11-jähriger im KH das erste Mal von der #band dieses #lied gehört und war geflasht
#pinkfloyd hat m. M. n. ein Wahnsinnswerk geschaffen
On this day in 1973, Money was released as a single in the US #pinkfloyd
https://youtube.com/shorts/XrO8d4VlzAQ?is=26huk-xxpBYn-Ufa -
Ein Jahr später habe ich, als 11-jähriger im KH das erste Mal von der #band dieses #lied gehört und war geflasht
#pinkfloyd hat m. M. n. ein Wahnsinnswerk geschaffen
On this day in 1973, Money was released as a single in the US #pinkfloyd
https://youtube.com/shorts/XrO8d4VlzAQ?is=26huk-xxpBYn-Ufa -
Canzoni in pegno e nostalgia con cedola
Tempo fa avevo già provato a mettere ordine in quel piccolo miracolo inverso che è l’industria musicale contemporanea: tutti giurano che sia in crisi, tutti piangono lacrime copiose per gli artisti che “non ci campano più”, e poi — come per magia — arrivano i fondi di investimento, quelli con il completo grigio e il sorriso da notaio, a comprare cataloghi per miliardi. Dunque la domanda è semplice, quasi volgare nella sua semplicità: se la musica rende poco, perché Wall Street […]https://leargenteetesteduovo.com/2026/05/08/canzoni-in-pegno-e-nostalgia-con-cedola/
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Canzoni in pegno e nostalgia con cedola
Tempo fa avevo già provato a mettere ordine in quel piccolo miracolo inverso che è l’industria musicale contemporanea: tutti giurano che sia in crisi, tutti piangono lacrime copiose per gli artisti che “non ci campano più”, e poi — come per magia — arrivano i fondi di investimento, quelli con il completo grigio e il sorriso da notaio, a comprare cataloghi per miliardi. Dunque la domanda è semplice, quasi volgare nella sua semplicità: se la musica rende poco, perché Wall Street […]https://leargenteetesteduovo.com/2026/05/08/canzoni-in-pegno-e-nostalgia-con-cedola/
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Canzoni in pegno e nostalgia con cedola
Tempo fa avevo già provato a mettere ordine in quel piccolo miracolo inverso che è l’industria musicale contemporanea: tutti giurano che sia in crisi, tutti piangono lacrime copiose per gli artisti che “non ci campano più”, e poi — come per magia — arrivano i fondi di investimento, quelli con il completo grigio e il sorriso da notaio, a comprare cataloghi per miliardi. Dunque la domanda è semplice, quasi volgare nella sua semplicità: se la musica rende poco, perché Wall Street […]https://leargenteetesteduovo.com/2026/05/08/canzoni-in-pegno-e-nostalgia-con-cedola/
