#pinkfloyd — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #pinkfloyd, aggregated by home.social.
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Listening to this one of the best Albums I ever owned:
#pinkFloyd
https://youtu.be/BfuOjI_Fzyo?si=6lOAJobshhHygkSA -
Roger Waters será el productor ejecutivo del documental palestino Freedom Theatre | #RollingStoneES
#ahmedtobasi #cine #cineytv #documental #freedomtheatre #gaza #jenin #palestina #pinkfloyd #rishipelham #rogerwaters
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Roger Waters será el productor ejecutivo del documental palestino Freedom Theatre | #RollingStoneES
#ahmedtobasi #cine #cineytv #documental #freedomtheatre #gaza #jenin #palestina #pinkfloyd #rishipelham #rogerwaters
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Roger Waters será el productor ejecutivo del documental palestino Freedom Theatre | #RollingStoneES
#ahmedtobasi #cine #cineytv #documental #freedomtheatre #gaza #jenin #palestina #pinkfloyd #rishipelham #rogerwaters
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Another Brick In The Wall (Part 2) 🏻
#PinkFloyd
https://www.youtube.com/watch?v=K6PwUG283DU -
Released yesterday 39 years ago:
🇬🇧 Pink Floyd "A Momentary Lapse of Reason" – 1987
First studio album following Roger Waters’ departure. David Gilmour and Nick Mason reconvened Pink Floyd, with Richard Wright returning to the fold, and the album deliberately moved away from the political and conceptual approach that had dominated the Waters era...
#pinkfloyd #progressiverock #artrock #psychedelicrock #rock #vinyl #music #vinylrecords #nowspinning #nowlistening
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Released yesterday 39 years ago:
🇬🇧 Pink Floyd "A Momentary Lapse of Reason" – 1987
First studio album following Roger Waters’ departure. David Gilmour and Nick Mason reconvened Pink Floyd, with Richard Wright returning to the fold, and the album deliberately moved away from the political and conceptual approach that had dominated the Waters era...
#pinkfloyd #progressiverock #artrock #psychedelicrock #rock #vinyl #music #vinylrecords #nowspinning #nowlistening
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Released yesterday 39 years ago:
🇬🇧 Pink Floyd "A Momentary Lapse of Reason" – 1987
First studio album following Roger Waters’ departure. David Gilmour and Nick Mason reconvened Pink Floyd, with Richard Wright returning to the fold, and the album deliberately moved away from the political and conceptual approach that had dominated the Waters era...
#pinkfloyd #progressiverock #artrock #psychedelicrock #rock #vinyl #music #vinylrecords #nowspinning #nowlistening
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Released yesterday 39 years ago:
🇬🇧 Pink Floyd "A Momentary Lapse of Reason" – 1987
First studio album following Roger Waters’ departure. David Gilmour and Nick Mason reconvened Pink Floyd, with Richard Wright returning to the fold, and the album deliberately moved away from the political and conceptual approach that had dominated the Waters era...
#pinkfloyd #progressiverock #artrock #psychedelicrock #rock #vinyl #music #vinylrecords #nowspinning #nowlistening
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Released yesterday 39 years ago:
🇬🇧 Pink Floyd "A Momentary Lapse of Reason" – 1987
First studio album following Roger Waters’ departure. David Gilmour and Nick Mason reconvened Pink Floyd, with Richard Wright returning to the fold, and the album deliberately moved away from the political and conceptual approach that had dominated the Waters era...
#pinkfloyd #progressiverock #artrock #psychedelicrock #rock #vinyl #music #vinylrecords #nowspinning #nowlistening
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@jzb So, both are "Atom Heart Mother". The cow is the #PinkFloyd album, the other one is a #bath #bomb from Lush with the same name: https://www.lush.com/uk/en/p/atom-heart-mother-bath-bomb A nice surprise from someone who know what music I like 🥰
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#Mastobada - nobody
Nobody Home Pink Floyd ❤️
"I've got electric light.
And I've got second sight.
And amazing powers of observation.
And that is how I know
When I try to get through
On the telephone to you
There'll be nobody home." 🎶 -
Set the controls for the Heart ❤️ of the Sun ☀️
( ...and max the thrust )
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On 6 Sep 1943: #RogerWaters, English #rockbassist and vocalist ( #PinkFloyd, 1964-85, 2005 - "Another Brick in the Wall"), born in Cambridge, England.
#HappyBirthday #83 ⋆✴︎˚｡⋆ 🎂 ༘⋆ -
On 6 Sep 1943: #RogerWaters, English #rockbassist and vocalist ( #PinkFloyd, 1964-85, 2005 - "Another Brick in the Wall"), born in Cambridge, England.
#HappyBirthday #83 ⋆✴︎˚｡⋆ 🎂 ༘⋆ -
On 6 Sep 1943: #RogerWaters, English #rockbassist and vocalist ( #PinkFloyd, 1964-85, 2005 - "Another Brick in the Wall"), born in Cambridge, England.
#HappyBirthday #83 ⋆✴︎˚｡⋆ 🎂 ༘⋆ -
On 6 Sep 1943: #RogerWaters, English #rockbassist and vocalist ( #PinkFloyd, 1964-85, 2005 - "Another Brick in the Wall"), born in Cambridge, England.
#HappyBirthday #83 ⋆✴︎˚｡⋆ 🎂 ༘⋆ -
On 6 Sep 1943: #RogerWaters, English #rockbassist and vocalist ( #PinkFloyd, 1964-85, 2005 - "Another Brick in the Wall"), born in Cambridge, England.
#HappyBirthday #83 ⋆✴︎˚｡⋆ 🎂 ༘⋆ -
Learning To Fly 🐿
#PinkFloyd
https://www.youtube.com/watch?v=2mKDvp7MavQ -
Learning To Fly 🐿
#PinkFloyd
https://www.youtube.com/watch?v=2mKDvp7MavQ -
Learning To Fly 🐿
#PinkFloyd
https://www.youtube.com/watch?v=2mKDvp7MavQ -
Learning To Fly 🐿
#PinkFloyd
https://www.youtube.com/watch?v=2mKDvp7MavQ -
Learning To Fly 🐿
#PinkFloyd
https://www.youtube.com/watch?v=2mKDvp7MavQ -
#mastobada pont (bridge)
Pink floyd - burning bridges
Bridges burning glady, melting with the shadow
flickering between the linesSi peu de chansons en fin de semaine souvent, dommage
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#mastobada pont (bridge)
Pink floyd - burning bridges
Bridges burning glady, melting with the shadow
flickering between the linesSi peu de chansons en fin de semaine souvent, dommage
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#mastobada pont (bridge)
Pink floyd - burning bridges
Bridges burning glady, melting with the shadow
flickering between the lines -
#mastobada pont (bridge)
Pink floyd - burning bridges
Bridges burning glady, melting with the shadow
flickering between the linesSi peu de chansons en fin de semaine souvent, dommage
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Coffin Hunters – Cosmic Dawn Review By Grin ReaperI love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026 -
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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TodoMal – Graveyards of Joy Review By Owlswald
Of 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 -
Crown Lands – Apocalypse Review By Owlswald
Rush 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 -
BBC Radio have recently released a bunch of plays by #TomStoppard, so I've been listening to them.
He's clearly a big #PinkFloyd fan -- one of them (Darkside) is basically set to Dark Side of the Moon as a soundtrack. The whole thing. In order.
The one I'm listening to right now has Syd Barrett as an important (but off-stage) character.
This realisation makes it now less surprising that the intro to the film of Rosencrantz and Guildensterm is set to "Seamus" from Meddle...
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MONDAY MATINEE MUSIC VIDEO “Josephine” by Tim Andrews a.k.a Chris Andrews
https://www.youtube.com/watch?v=ms4IHSSkeVw
#josephine #timandrews #chrisandrews #chamberpop #britpop #psychedelicrock #echoplex #harpsichord #beachboys #beatles #beegees #leftbanke #parlophone #abbeyroad #tonyhall #davidmackay #paulbuckmaster #pinkfloyd #sydbarrett #clique #sugar #Sunday #tommyjames #edisonlighthouse #london #baroquepop
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This week, Film Seizure puts another brick into place as they discuss the 1982 rock musical Pink Floyd: The Wall.
Listen to the new episode at https://wp.me/p9Tw3k-1Rj
#podcast #filmdiscussion #musical #pinkfloyd #thewall #80s #alanparker
