#pinkfloyd — Public Fediverse posts

🇺🇦 #NowPlaying on #BBC6Music's #CerysMatthews

Pink Floyd:
🎵 Mother

#PinkFloyd

https://therevoltingminds.bandcamp.com/track/pink-floyds-mother

https://open.spotify.com/track/1GEOSS415bZVHNuXWlCT6b

Learning To Fly 🐿
#PinkFloyd
https://www.youtube.com/watch?v=2mKDvp7MavQ

Hey You 🫵
#PinkFloyd
https://www.youtube.com/watch?v=DEDjF2tLbhk

#mastobada pont (bridge)

Pink floyd - burning bridges

Bridges burning glady, melting with the shadow
flickering between the lines

https://youtu.be/UXdBuLgfaLU

Si peu de chansons en fin de semaine souvent, dommage

#pinkfloyd #musique #music

#mastobada pont (bridge)

Pink floyd - burning bridges

Bridges burning glady, melting with the shadow
flickering between the lines

https://youtu.be/UXdBuLgfaLU

Si peu de chansons en fin de semaine souvent, dommage

#pinkfloyd #musique #music

#mastobada pont (bridge)

Pink floyd - burning bridges

Bridges burning glady, melting with the shadow
flickering between the lines

https://youtu.be/UXdBuLgfaLU

#pinkfloyd #musique #music

David Gilmour’s opinion on Richard Wright

https://rockandrollgarage.com/david-gilmour-opinion-on-richard-wright/

#davidgilmour #pinkfloyd #rock #music

David Gilmour’s opinion on Richard Wright

https://rockandrollgarage.com/david-gilmour-opinion-on-richard-wright/

#davidgilmour #pinkfloyd #rock #music

David Gilmour’s opinion on Richard Wright

https://rockandrollgarage.com/david-gilmour-opinion-on-richard-wright/

#davidgilmour #pinkfloyd #rock #music

David Gilmour’s opinion on Richard Wright

https://rockandrollgarage.com/david-gilmour-opinion-on-richard-wright/

#davidgilmour #pinkfloyd #rock #music

David Gilmour’s opinion on Richard Wright

https://rockandrollgarage.com/david-gilmour-opinion-on-richard-wright/

#davidgilmour #pinkfloyd #rock #music

Pink Floyd:

Brain Damage.

'I see you on the dark side of the moon:'

https://www.youtube.com/watch?v=1Z39KZAryzk&list=RD1Z39KZAryzk&start_radio=1

#PinkFloyd #TheDarkSideOfTheMoon

Pink Floyd:

Brain Damage.

'I see you on the dark side of the moon:'

https://www.youtube.com/watch?v=1Z39KZAryzk&list=RD1Z39KZAryzk&start_radio=1

#PinkFloyd #TheDarkSideOfTheMoon

Pink Floyd:

Brain Damage.

'I see you on the dark side of the moon:'

https://www.youtube.com/watch?v=1Z39KZAryzk&list=RD1Z39KZAryzk&start_radio=1

#PinkFloyd #TheDarkSideOfTheMoon

Pink Floyd:

Brain Damage.

'I see you on the dark side of the moon:'

https://www.youtube.com/watch?v=1Z39KZAryzk&list=RD1Z39KZAryzk&start_radio=1

#PinkFloyd #TheDarkSideOfTheMoon

Pink Floyd:

Brain Damage.

'I see you on the dark side of the moon:'

https://www.youtube.com/watch?v=1Z39KZAryzk&list=RD1Z39KZAryzk&start_radio=1

#PinkFloyd #TheDarkSideOfTheMoon

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

For my money, Japan’s Sigh reigns uncontested as the standard for avant-garde metal, resting on a throne forged from a stellar back catalogue over thirty years in the making. Though the band has mustered an appreciable following, how Sigh isn’t a much bigger deal in the metalsphere boggles the mind. From modest, key-forward black metal roots to totally unhinged, free-for-all arrangements, Sigh never holds back from the extraordinary visions mastermind Mirai Kawashima wields. Fully integrating orchestral might, from winds, strings and brass to sundry keys the world over, Sigh’s discography consistently challenges the definitions and boundaries of metal.

With new album Goh-Ka arriving soon, we here at Angry Metal Guy felt compelled to honor this legendary and influential act with due consideration and a thoughtful dissertation. Whether you’re new to Sigh’s oddball antics or a longtime subscriber to their wonderfully outlandish hijinks, you can’t go wrong diving into any part of the band’s history. But in case you don’t want to jump in blind, outlined below is our definitive guide to appreciating one of metal’s most remarkable personalities.

– Grin Reaper

The Rankings

Grin Reaper

Each release within Sigh’s discography is unique, and as I weigh any one album against the others, I find myself categorizing each based on what instruments or styles feature most prominently. Imaginary Sonicscape indulges in keys and synths, Scenes from Hell spotlights big fat brass, and Scenario IV lumbers with thunderous umbrage. Yet no matter the prevailing mood, Sigh’s phasers are set to thrill. This has been a difficult ranking to assess and assemble, but also an incredibly rewarding one since I got to spend so much time blasting cherished records. At the very least, I hope reading this inspires you to either discover or revisit an unquestionably impeccable discography.

#12. Scorn Defeat (1993) — Sigh’s debut, Scorn Defeat sits squarely under the black metal banner while manifesting in utterly different ways than the burgeoning second wave fomenting in Norway at the time. Though it’s a strong LP that exhibits plenty of character, Scorn Defeat still ranks at the bottom when assessing Sigh’s overarching canon. Mirai Kawashima’s unhinged vocals and the tremolo riffing satisfy black metal appetites, yet the key-driven dirge of “Gundali” that morphs into a captivating piano feature and the crawling trudges in “Ready for the Final War” and “Taste Defeat” completely subvert expectations of the genre. Although interesting ideas reside on Scorn Defeat, I rarely return to it unless I’m listening to Sigh’s discography in full.

#11. Infidel Art (1995) — Picking up where Scorn Defeat left off, Infidel Art finds Sigh writing almost exclusively long-form tracks, with only “Suicidogenic” clocking under the eight-minute mark. Though the girthy durations don’t weigh down the front of the album, by the time “The Last Elegy” arrives on the heels of “Desolation,” Infidel Art begins to buckle. Luckily, “Suicidogenic” restores momentum, beginning with a flowery piano ballad supported by uplifting strings when a sinister chord progression waylays the build and diverts into a balls-out blackened thrasher that ends on the coy grace of a forlorn flute. The track presages Sigh’s unconventional song structures that would become an enduring hallmark of their sound, and the tandem of “Suicidogenic” and “Beyond Centuries” defines the best ending duo in Sigh’s discography until Gallows Gallery.

#10. Scenario IV: Dread Dreams (1999) — Though lively moments dot Scenario IV: Dead Dreams, Sigh’s fourth LP frequently decelerates to lurching paces. On one hand, this gives songs like “Diabolic Suicide,” “Infernal Cries,” and “Iconoclasm in the 4th Desert” time to breathe. On the other, the accumulation of doomy moments dampens Scenario IV’s momentum, particularly during the album’s back half. Even so, I enjoy listening to this bridge between early Sigh’s blackened roots and the experimental mayhem that came after. I also admire the creative programming employed by Kawashima and its enmeshment within Scenario IV’s other elements, foreshadowing Imaginary Sonicscape’s untamed ingenuity. Also, that guitar solo on “Severed Ways” is magnificent. In all, Scenario IV presents beautiful and bestial moments that often excite but occasionally drag.

#9. Hail Horror Hail (1997) — Hail Horror Hail rips straight outta hell from the start, with the title track slinging classic rock riffs, punky snarls, and a string-and-flute interlude to rousing effect. It’s the album where Sigh properly inaugurates the inclusion of diverse instrumentation and psychedelia that Scenario IV augmented and Imaginary Sonicscape fully realized. The airy flute interplay with distorted guitar on “42 49” and the bizarre synth injections on “12 Souls” enrich the album’s fore with unconventional depth, but Hail’s middle sags a tad before “Curse of Izanagi” fully reignites my interest with unorthodox cinematic drama. Hail Horror Hail would be a top treasure in most discographies, yet such is Sigh’s burden and a testament to the quality of their other albums.

#8. Graveward (2015) — Inspired by classic Italian horror films and their soundtracks, Graveward embodies both a raw, DIY aesthetic and grandiose-to-the-point-of-camp schtick. More than most albums in Sigh’s oeuvre, Graveward splits fan opinions given its relatively scaled-back flamboyance, but I think this is a disservice to what Sigh accomplishes here. I largely attribute this attitude to following In Somniphobia, an impossible charge for a band putting out a new record after their last one met universal acclaim. Rather than outdoing themselves by going bigger, Kawashima et al. shifted to a direction that toes the line between garage rock spunk and their signature blend of orchestral shenanigans. Although the album might seem underwhelming relative to Sigh’s other records, “Kaedit Nos Pestis,” “The Tombfiller,” and “The Casketburner” supply hooks aplenty and catchy refrains that separate Graveward above their early era, while “Graveward” and “The Trial by the Dead” radiate lovable old-school cinematic pomp.

#7. Gallows Gallery (2005) — There’s something about Gallows Gallery’s LoFi aesthetic that brings a smile to my face. The raw production and drastic shift in direction following Imaginary Sonicscape proved divisive, particularly for Sigh’s label at the time, given they refused to distribute the album.1 It’s an altogether different beast than what came before, leaning into blues-tinged and psychedelic rock arrangements that recall a bizarre cross-section of Pink Floyd, The Animals, and a dash of Rob Zombie. The album also flies by, making it a quick romp with singalong bops. With the benefit of hindsight, it’s easier to see the threads that tie Gallows Gallery not just to its predecessor, but to the future journeys Sigh would guide listeners through. Ultimately, Gallows Gallery serves as a transition album, even for a band that constantly reinvents itself, and proves a kooky, succinct platter that hemorrhages fun.

#6. Heir to Despair (2018) — As Kronos detailed in his review of Heir to Despair, Sigh’s eleventh album finds them at their most direct and stripped down. This direction began on Graveward, but Heir to Despair further dials down the weird in favor of a more straightforward, if still offbeat, metal record. While this might seem a disappointment to some fans, hearing Sigh take on a less variegated platter allowed them to shine in a new light. “Homo Homini Lupus” rings with Maidenesque grandeur while “In Memories Delusional” instantly recalls Ozzy classic “Bark at the Moon,” at least before Mirai devolves into feral madman phrasing. Following Heir to Despair’s concept of a descent into madness, the album progresses in a clever thread from direct rocker in the front half to the idiosyncratic plunge into a psychological fracture during “Hands of the String Puller” and the title track. I think that Heir to Despair gets slept on because it’s Sigh’s most subtle work, but it rewards listeners who check expectations at the door and dare to Despair.

#5. Scenes from Hell (2010) — Sigh with horns! And not just the sweet, sweet sax that Dr. Mikannibal lends. Scenes from Hell boasts a bona fide mini orchestra,2 and it immediately sets Sigh’s eighth album apart from what came before. Another distinguishing factor is the sheer flexibility and audacity of their songwriting. One of Sigh’s defining characteristics is their plasticity, selecting what elements they want to use to invigorate an album and writing music around them to ensure the band remains fresh and exciting. Scenes from Hell begins with “Prelude to the Oracle,” where the brass section bounces between the raucous energies of a high school band section, mariachi madness, and cinematic action sequences, the latter of which gets amplified on follow-up “L’Art de Mourir” with the injection of classical strings and galloping drums. The rest of the album plays out in similar fashion, making for an excellently delectable Hellscape.

#4. Shiki (2022) — Billed as a more personal album for Mirai, Shiki ponders mortality through the lens of seasons as his autumn wanes into winter. Similar to Heir to Despair, Shiki’s instrumentation forgoes the widespread multifariousness Sigh is known for, or at least reins it in as more emphasis is placed on drums, guitars, and vocals. The latter becomes especially important given the intimacy of the subject matter. I understand academically that listeners may not always appreciate Mirai’s frantic deliveries, yet I find his acidity and bite a perfect match for the chaotic beauty of Sigh’s music. Not too much on Shiki veers from this approach, but the vocals are a touch higher in the mix and occasionally draw out in tortured howls I find particularly effective. Despite being more straightforward than many Sigh offerings, Shiki still incorporates a healthy amount of flute and keys, along with some killer shredding (“Mayonaka no Kaii”) to keep the music lively and exciting. And though I sense that Sigh always makes the music they want to, there’s an earnestness on Shiki that elevates it above the various other contenders vying for the upper echelon of their corpus.

#3. Hangman’s Hymn – Musikalische Exequien (2007)3 — Sigh goes Maiden on Hangman’s Hymn, describing the final moments and conscious thoughts of a man as he’s charged, condemned, and executed. “Hallowed Be Thy Name” is one of my all-time favorite songs, so magnifying that concept into a full-blown album presents a thrilling prospect—and boy does Sigh deliver. Though the album unfolds as a damnation of one flawed man, Hangman’s Hymn acts as a microcosm for humanity’s deserved judgment more broadly, where the solution is “Salvation in Flame.” Though bleak, Sigh furnishes this message with hellishly fun bombast. Fusing Teutonic thrash with German classical arrangements, Mirai forges an unforgettable funereal soundtrack that fumes with hellfire and musical opulence. “Inked in Blood,” “Me-Devil,” and “Salvation in Flame / Confutatis” are some of my favorite songs in Sigh’s discography, exquisitely melding the ‘ugliness’ of 80s German thrash with classical baroque underpinnings. Death never sounded so alive.

#2. Imaginary Soniscape (2001) — The first time I heard Imaginary Sonicscape, something clicked. Sigh’s fifth LP wasn’t my introduction, but it’s what cemented them as a band I would always follow. Not just a fever dream of key-drenched psychedelia,[1, Although it’s definitely that, too.] Imaginary Sonicscape swells with experimentation and an unfathomable, irresistible fearlessness. “Scarlet Dream” borrows from Andrew Lloyd Webber’s “Phantom of the Opera” with its half-step chromatic runs and adds an improbable 90s hip-hop synth, inducing a faint Faith No More undercurrent, while “A Sunset Song” meshes Beach Boys’ good vibes with smooth Michael McDonald butteriness and raw Celtic Frost edge. This thing should be a disaster, but it’s a masterpiece. A complete departure from what came before, Imaginary Sonicscape is weird yet accessible, heavy yet mellow, and an hour that disappears in a marvelous flash. Each song proves essential, and though front-loaded with my favorite tracks, bangers abound throughout and devise a record that would be the feather in the cap of many a discography. And yet…

#1. In Somniphobia (2012) — …In Somniphobia just edges into the top spot with its master-crafted auditory blitzkrieg of eclectic instruments and styles. From the slick lick that opens “Purgatorium” through the sultry sax on “Amnesia” to “Equal”‘s Moron Police-level power pop jauntiness backing the gritty refrain of ‘kill me now,’ every second of In Somniphobia exudes the peak confluence of Sigh’s intrepid creativity and musical execution. The concept of the album emboldens its soundtrack, as it explores the fragility of reality when sleep eludes or assails us. In Somniphobia deftly conjures nightmarish fluidity with constantly shifting, genre-bending while simultaneously wrangling engrossing melodies with megaton hooks. AMG Himself nailed the Iconic rating, and for my money, In Somniphobia is not only the deadliest weapon in Sigh’s arsenal, but one of the best albums this century.

Creeping Ivy

Sigh slashed their way into my life in 2022, when the bizarrely progressive strains of Shiki slaughtered my ears. Immediately, I explored much of their back catalogue, whether through the simple act of streaming (Heir to Despair, Imaginary Sonicscape) or the crapshoot destiny of crate digging (Scorn Defeat, In Somniphobia). Going through the entire Sigh discography for this ranking was a real treat—few metal bands can boast the consistent longevity and persistent creativity of Mirai Kawashima and crew. Here, AMG Faithful stands my humble offering to the inimitable Sigh!

#12. Graveward (2015) — Sigh have no bad albums, so Graveward occupying my bottom spot should not be interpreted as any sort of slight. It’s more impressive, off-the-wall stuff for sure, but it hews a bit too close to musical theater for my taste. Graveward does, like many Sigh records, grow more interesting as it goes; I especially dig the burst of orchestral blackened punk that is “Out of the Grave.” Having to follow a certain album, however, was always going to be a challenge—at this point in their storied career, Graveward feels like Sigh Sighing to me.

#11. Infidel Art (1995) — Superficially, Infidel Art seems like a marked step up from Sigh’s debut. “Izuna” and “The Zombie Terror” kick things off with kick-ass fluctuations between blackened plods, propulsive power chords, and ear-worm riffs that make the orchestral elements more central than Scorn Defeat. Gravitating towards sustained doom from “Desolation” onwards, the album ends up petering out for me in its back half. Having said that, Infidel Art portends great things to come, with “Suicidogenic” offering a late-album glimpse into Sigh’s potential for marrying macabre cinematics with metallic mobility.

#10. Heir to Despair (2018) — Shiki is the first Sigh album that, I would say, sounds like ‘modern’ metal; to my ears, Heir to Despair initiated this development. Its status as a sort of transition album makes it interesting within the band’s trajectory, but it’s also a bit tepid by Sigh standards. Going for a more patient variety of avant-garde metal, Heir possesses some killer highlights: opener “Aletheia” boasts one of the band’s most infectious riffs, “In Memories Delusional” shreds on guitar/vocal fronts, and “Homo Homini Lupus” has some sweet Phil black metal vocals. “Heresy” I–III, however, doesn’t quite cut it for me—without this (totally weird and cool) experiment in its midst, Heir to Despair might have ranked a bit higher.

#9. Scenario IV: Dread Dreams (1999) — Situated between two Sigh albums I love, Scenario IV is an album I’m intrigued by more than I love. I do enjoy it, muchly; “Infernal Cries” has some of my favorite riffing from the band, and who amongst us can resist peering “In the Mind of a Lunatic”? Getting real, though, I’ll say that Scenario IV was the first time I felt the length of a Sigh album when listening to their discography in order. Hinging between two of my top Sigh albums, Scenario IV is an album I listen to as a precursory lull of sorts (and one I can see making great leaps up my ranking upon re-listens).

#8. Hangman’s Hymn (2007) — Switching to the middle of my ranking, I’ll say this: sometimes, a first impression is a lasting impression. I Saw the World’s End before I heard Hangman’s Hymn, and what I heard was the kind of breakneck, kooky, blackened extreme metal I’d come to know and love from Sigh. Going back to the rawer original for this ranking left me equally floored; from “Introitus/Kyrie” to “Hangman’s Hymn/In Paradisum/Das Ende,” Sigh never pumps the brakes. Hangman’s Hymn didn’t necessarily need to be re-recorded, I would say, but the fact that Sigh chose to re-record it unavoidably inflects my perception of the original: great, but maybe not singular.

#7. Gallows Gallery (2005) — Seven and eight on my ranking are somewhat interchangeable, but Gallows Gallery gets the nod as, to me, the more unique mid-aughts Sigh album. If Gallows Gallery is, indeed, Sigh doing power metal, then it’s almost assuredly my favorite power metal album of all time. Guitar heroics will always put a smile on my face—”Pale Monument” and “Silver Universe” deliver the melodies, harmonies, and shred I can never get enough of. Having only clean vocals limits my enjoyment of this as a Sigh album, but when I adjust, I always have a damn good time with this record.

#6. Scorn Defeat (1993) — Scorn Defeat might be the obvious candidate as Sigh’s weakest album, as it’s the most imitative and least experimental of the bunch. Indeed, the band’s debut sounds like Venom worship with hints of the insanity to come. Growing stronger as it goes, Scorn Defeat nevertheless reveals Sigh’s potential via the harpsichord intro to “The Knell,” the incredible ivory twinkling of “Gundali,” and the choral midsection in “Taste Defeat.” Hearing Scorn Defeat early in my discovery of the Sigh discography frames my relationship with it: a harbinger of things to come that simultaneously scratches the itch for first-wave fun.

#5. Scenes from Hell (2010) — Scenes from Hell tops the middle of my ranking by wrapping bonkers mid-period Sigh in the crustier production of the early albums. Initiating the now-central fixture of Dr. Mikannibal into the fold, Scenes holds a special place in the Sigh discography, and it’s one that, for me, flirts with novelty in the best possible way. Grandiose yet gritty, the two funerals at the heart of Scenes showcase Sigh masterfully wielding orchestral elements as both central fixtures and subtle touches, never losing touch with the album’s punky black core. Hell’s soundtrack supersedes Heaven’s; this I always knew; what I didn’t know was how lively and fun this soundtrack actually is.

#4. Shiki (2022) — Shiki introduced me to the wonderfully weird world of Sigh, and it’s an album I still hold in very high regard. I tend to love progressive music that embraces enabling constraints, and Shiki sees Sigh continuing the shift they made towards relative restraint on Heir to Despair (2018) with this meditation on mortality. Getting older sucks, but it sucks a lot less with a soundtrack of killer doom riffs (“Kuroi Kage”), bitchin’ bongo solos (“Skikabane”), and jazzy noir interludes (“Mayonaka No Kaii”). Having Frédéric Leclerq and Mike Heller on board as guest musicians helps reinvigorate the band (as adding Dr. Mikannibal did on Scenes from Hell)—Shiki ascends to the top of metal modernity by enlisting top-tier veterans.

#3. Hail Horror Hail (1997) — Sigh truly became Sighcotic on their third album, the one I reach for when I want slow-burning nightmare fuel at an aesthetic distance. It took a few spins for Hail Horror Hail to fully sink its murderous hooks into me; once it did, it easily clawed its way towards the top of my ranking. Going for a more black n’ roll sound off the bat with the anthemic title track, “12 Souls” starts to give me the scaries, but “The Dead Sing” has me roving between fear and joy in a manner that can be called sublime. Hardest one to get into, most rewarding one to get into—this is my experience with Hail Horror Hail.

#2. In Somniphobia (2012) — Sorting out the Sigh discography ended up being a two-horse race, with In Somniphobia slightly falling behind my winner. I found Sigh’s ninth in my local vinyl shop (and valiantly haggled the owner down $15), and it immediately floored me with its near-perfect balance of metallic speed, grandiose classicism, jazzy swagger, and a bunch of other things. Getting the Lucid Nightmare Suite alone would’ve made this Sigh’s second best; “L’excommunication a Minuit” gets my blood boiling with its Mortal Kombat riff, while “Amongst the Phantoms of Abandoned Tumbrils” brings me down with its haunting accordion compressions. Hearing In Somniphobia on double vinyl, however, made me realize that Sides A/D are an enveloping EP of sorts—best twofer ever!

#1. Imaginary Sonicscape (2001) — Sonicscapes don’t get any more imaginary than this. In a discography where no two albums sound all that much alike, Imaginary Sonicscape truly sounds like no other Sigh record, which is precisely why it’s my favorite. Gushing about this album must be done in a concise manner, so I’ll leave it at this: “A Sunset Song” was the track that sold me on the album, full stop, and it’s still one of my favorite Sigh songs. Hearing this chaotic dreamsphere of crying corpses, Nietzschean conspiracies, and ecstatic transformations always feels like hearing it for the first time, and I love introducing people to it (metalheads, but anyone with a taste for the avant-garde).

Angry Metal Guy Staff Ranking

Combining the aforementioned analyses with the wisdom of more tenured staff, please enjoy the aggregated ranking below:

1. 1. Infidel Art (1995)
   2. Scenario IV: Dread Dreams (1999)
   3. Scorn Defeat (1993)
   4. Graveward (2015)
   5. Hail Horror Hail (1997)
   6. Heir to Despair (2018)
   7. Gallows Gallery (2005)
   8. Hangman’s Hymn (2007)
   9. Shiki (2022)
   10. Scenes from Hell (2010)
   11. Imaginary Sonicscape (2001)
   12. In Somniphobia (2012)

For any uncultured readers who need a quick study on one of the best bands in the biz, check out the below.

https://www.europesays.com/es/706688/ Brian May (Queen) anuncia con una canción de Pink Floyd que está en España para ver el eclipse #BrianMay #eclipse #Entertainment #Entretenimiento #ES #España #MR2022 #Music #Música #PinkFloyd #Queen #Spain

Es wäre sehr lustig, die Sendung #klassikpopetcetera im #DLF zu hören und zu versuchen, aufgrund der gespielten Musik das Alter des/der Moderator*in zu erraten.
Michael Groß heute spielt "Wish you were here", ein Lied, für das ich etwas jung war, das aber 'die aus der Oberstufe' gespielt haben dürften.
#Westberlin #MichaelGroß
#klassikpopetc #PinkFloyd #wishyouwerehere
Und Pink Floyd fand ich eh nie besonders. 🤷🏻‍♂️

Es wäre sehr lustig, die Sendung #klassikpopetcetera im #DLF zu hören und zu versuchen, aufgrund der gespielten Musik das Alter des/der Moderator*in zu erraten.
Michael Groß heute spielt "Wish you were here", ein Lied, für das ich etwas jung war, das aber 'die aus der Oberstufe' gespielt haben dürften.
#Westberlin #MichaelGroß
#klassikpopetc #PinkFloyd #wishyouwerehere
Und Pink Floyd fand ich eh nie besonders. 🤷🏻‍♂️

Es wäre sehr lustig, die Sendung #klassikpopetcetera im #DLF zu hören und zu versuchen, aufgrund der gespielten Musik das Alter des/der Moderator*in zu erraten.
Michael Groß heute spielt "Wish you were here", ein Lied, für das ich etwas jung war, das aber 'die aus der Oberstufe' gespielt haben dürften.
#Westberlin #MichaelGroß
#klassikpopetc #PinkFloyd #wishyouwerehere
Und Pink Floyd fand ich eh nie besonders. 🤷🏻‍♂️

Es wäre sehr lustig, die Sendung #klassikpopetcetera im #DLF zu hören und zu versuchen, aufgrund der gespielten Musik das Alter des/der Moderator*in zu erraten.
Michael Groß heute spielt "Wish you were here", ein Lied, für das ich etwas jung war, das aber 'die aus der Oberstufe' gespielt haben dürften.
#Westberlin #MichaelGroß
#klassikpopetc #PinkFloyd #wishyouwerehere
Und Pink Floyd fand ich eh nie besonders. 🤷🏻‍♂️

Es wäre sehr lustig, die Sendung #klassikpopetcetera im #DLF zu hören und zu versuchen, aufgrund der gespielten Musik das Alter des/der Moderator*in zu erraten.
Michael Groß heute spielt "Wish you were here", ein Lied, für das ich etwas jung war, das aber 'die aus der Oberstufe' gespielt haben dürften.
#Westberlin #MichaelGroß
#klassikpopetc #PinkFloyd #wishyouwerehere
Und Pink Floyd fand ich eh nie besonders. 🤷🏻‍♂️

In addition to the beautiful cinematography, “Zabriskie Point” (1970) is also known for its wonderful soundtrack featuring Pink Floyd, The Grateful Dead and other 60s era artists. You can listen to it here (https://youtu.be/XonFbwYDgD8?is=KC8lE9MZhVsyZfRp)
#LaEsoterica #ZabriskiePoint #PinkFloyd #TheGratefulDead #classicrock

I 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
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

Dal Vivo: Le notti che hanno cambiato la musica

@podcast

questo sembra interessante.

cinque live leggendari, da Dalla e De Gregori, a Bob Marley, Madonna, Pink Floyd e Nirvana
https://podcastindex.org/podcast/7957565

#podcast #dalla #DeGregori #bobmarley #Madonna #pinkfloyd #nirvana

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

#TopArtists #Madonna #ElvisPresley #FrankSinatra #TheBeatles #Styx #TheDoobieBrothers #ABBA #ArethaFranklin #BillyJoel #Chicago #JamesTaylor #PaulSimon #RodStewart #WhitneyHouston #AmyGrant #HallAndOates #HenryMancini #LynyrdSkynyrd #PhilCollins #PinkFloyd 🎷

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

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

#music #record

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
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

#TopArtists #FleetwoodMac #SimonAndGarfunkel #HenryMancini #Madonna #TheBeatles #Carpenters #Eagles #ElectricLightOrchestra #RayCharles #UnitedStatesMarineBand #EltonJohn #FrankSinatra #LynyrdSkynyrd #PaulSimon #PinkFloyd #WillieNelson #ABBA #ArethaFranklin #BeeGees #CarlySimon ⋆.˚✮🎧✮˚.⋆

#cannabis #pedophileprotector #Meme #StonerThoughts #ConspiracyTheories #PinkFloyd #ClimateChange #NoBillionaires #NoGoodBillionaires #TaxTheRich #EatTheRich #GuillotinesWork

#TopArtists #TheBeatles #ElvisPresley #ElectricLightOrchestra #AnneMurray #Chicago #Eagles #EltonJohn #BillyJoel #WhitneyHouston #BeeGees #RodStewart #TheBeachBoys #Carpenters #CélineDion #FrankSinatra #Madonna #PhilCollins #PinkFloyd #Queen #TheDoobieBrothers 🎵🎧💃🕺🎶

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...

#TopArtists #ArethaFranklin #TheBeatles #Chicago #EltonJohn #Genesis #PhilCollins #PinkFloyd #BeeGees #BillyJoel #HallAndOates #LionelRichie #ElvisPresley #FleetwoodMac #HueyLewisAndTheNews #LindaRonstadt #SimonAndGarfunkel #StevieWonder #TheBeachBoys #BarbraStreisand #CaroleKing 🎧

#introduction Hello multiverse of Mastodon! My name is Alex and I'm from Asia, Uzbekistan. Recently have migrated from mastoson.social, cause of character limitation and for other reasons.

I'm a student of a medical school? currently learning surgery. One step away from becoming a family doctor.

I like drawing, specifically sketching as every beginner does. Thanks to Fedi, there are many creative artists in various fields, so I can follow their work. Right now I'm practicing drawing subjects and landscape.

Another thing that brings joy into my boring life is a music. I listen to music a lot, everywhere, preferably rock, sometimes pop. #Audioslave #BreakingBennjamin #PinkFloyd fan.

Currently I don't exist in any social media, despite Mastodon, cause o negative toxicity.

That was my short introduction letter. Hope everyone who's reading this post is doing great.
Peace!

"The Great Gig in the Sky" is the fifth track on The Dark Side of the Moon, a 1973 album by English #rock band #PinkFloyd. The song features music by keyboard player #RichardWright and improvised, #wordless #vocals by session singer #ClareTorry. It is one of only three Pink Floyd songs to feature lead vocals from an outside artist. The Great #GigInTheSky was released as a digital single on February 10, 2023, to promote #TheDarkSideOfTheMoon50thAnniversary box set.
https://www.youtube.com/watch?v=2PMnJ_Luk_o

#TopArtists #TheBeatles #Madonna #HallAndOates #JanetJackson #Commodores #Foreigner #NeilSedaka #BeeGees #BobDylan #ElvisPresley #PinkFloyd #SimonAndGarfunkel #StevieWonder #AirSupply #CaroleKing #ElectricLightOrchestra #FleetwoodMac #FrankSinatra #JamesTaylor #NatKingCole 🎧

https://www.europesays.com/it/383184/ David Gilmour compie 80 anni: l’ingresso nei Pink Floyd, la lite con Roger Waters, i due matrimoni, 7 segreti #adottato #AdottatoCharlie #AdottatoCharlieFiglio #aerei #band #cambridge #CambridgeMarzo #chitarrista #david #DavidGilmour #Entertainment #figlio #floyd #gilmour #Intrattenimento #IT #Italia #Italy #marzo #Music #Musica #nato #NatoCambridge #NatoCambridgeMarzo #pink #PinkFloyd #reunion #roger #RogerWaters #samson #waters

Storm Thorgerson to postać, której wpływ na świat grafiki muzycznej jest niezaprzeczalny. Jego prace dla Pink Floyd i Led Zeppelin sprawiły, że jego projekty stały się ikoniczne. W rocznicę jego urodzin przypominamy sobie o jego geniuszu, który wciąż rozbrzmiewa w świecie sztuki. #StormThorgerson #PinkFloyd #Grafika (fot. Wikipedia)

Storm Thorgerson to postać, której wpływ na świat grafiki muzycznej jest niezaprzeczalny. Jego prace dla Pink Floyd i Led Zeppelin sprawiły, że jego projekty stały się ikoniczne. W rocznicę jego urodzin przypominamy sobie o jego geniuszu, który wciąż rozbrzmiewa w świecie sztuki. #StormThorgerson #PinkFloyd #Grafika (fot. Wikipedia)

Storm Thorgerson to postać, której wpływ na świat grafiki muzycznej jest niezaprzeczalny. Jego prace dla Pink Floyd i Led Zeppelin sprawiły, że jego projekty stały się ikoniczne. W rocznicę jego urodzin przypominamy sobie o jego geniuszu, który wciąż rozbrzmiewa w świecie sztuki. #StormThorgerson #PinkFloyd #Grafika (fot. Wikipedia)

Storm Thorgerson to postać, której wpływ na świat grafiki muzycznej jest niezaprzeczalny. Jego prace dla Pink Floyd i Led Zeppelin sprawiły, że jego projekty stały się ikoniczne. W rocznicę jego urodzin przypominamy sobie o jego geniuszu, który wciąż rozbrzmiewa w świecie sztuki. #StormThorgerson #PinkFloyd #Grafika (fot. Wikipedia)

#TopArtists #ThreeDogNight #TheBeatles #ElvisPresley #Chicago #EltonJohn #LindaRonstadt #PinkFloyd #The5thDimension #Carpenters #Eagles #MariahCarey #NeilDiamond #FrankSinatra #HallAndOates #RodStewart #TheRollingStones #EngelbertHumperdinck #FleetwoodMac #KennyRogers #TedHeath 🎉

#TopArtists #TheBeatles #BillyJoel #Chicago #EltonJohn #NeilDiamond #ElvisPresley #PhilCollins #StevieWonder #WhitneyHouston #Madonna #BeeGees #Eagles #FleetwoodMac #Heart #JamesTaylor #PinkFloyd #SimonAndGarfunkel #AmyGrant #AnneMurray #ArethaFranklin 🎉

#musica #ingenieros #pinkfloyd #AlanParsons #rockprogresivo #progressiverock #rockmusic
#AlanParsons 💀🎸🤘🎸💀
Un dato curioso sobre *Alan Parsons* y el álbum «The Dark Side of the Moon», de "Pink Floyd" es que *Parsons*, quien fue el ingeniero de sonido del disco, experimentó con técnicas innovadoras que ayudaron a darle su sonido icónico. Por ejemplo, fue el responsable de las ideas detrás de los efectos de eco en canciones como «Us and Them» y «Time». También tuvo la visión de utilizar efectos de sonido, como los latidos del corazón al inicio y final del álbum, que añadieron una sensación conceptual a la obra.
Un detalle interesante es que después del enorme éxito del disco, *Parsons* fue invitado a continuar colaborando con "Pink Floyd" , pero rechazó la oferta porque quería concentrarse en desarrollar su propia música. Poco después, fundó el "Alan Parsons Project" , un grupo que ganó renombre por sus álbumes conceptuales progresivos, como «Eye in the Sky».

¿Qué tal esta belleza musical? 25 minutos de «Shine On You Crazy Diamond», nueva mezcla de un clásico de Pink Floyd.

https://song.link/s/7Dw4ReVy2jfCQ9lzRoJ0yD

#PinkFloyd #Singles #Singles2025 #Musica #Rock