#pinkfloyd — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #pinkfloyd, aggregated by home.social.
-
The Syd Barrett song David Gilmour called “brilliant”
Credit: Far Out / Syd Barrett / Alamy Wed 9 September 2026 22:18, UK While David Gilmour was…
#NewsBeep #News #Music #1960s #1968 #DavidGilmour #Entertainment #PinkFloyd #PopMusic #RockMusic #SydBarrett #UK #UnitedKingdom
https://www.newsbeep.com/uk/765662/ -
https://www.europesays.com/uk/1195914/ The Syd Barrett song David Gilmour called “brilliant” #1960s #1968 #DavidGilmour #Entertainment #music #PinkFloyd #PopMusic #RockMusic #SydBarrett #UK #UnitedKingdom
-
But something stirs and something tries
And starts to climb towards the lightA5J170 1️⃣6️⃣3️⃣0️⃣ A good song a day keeps the doctor away 🎧
🔥 Pink Floyd - Echoes (1971) 🔥
https://music.youtube.com/watch?v=EAmtF84mubg&si=gCa13vUwP-eYUILZ
#music #rockmusic #music1970s #nowlistening #September2026 #pinkfloyd #musicchallenge #thursday
-
But something stirs and something tries
And starts to climb towards the lightA5J170 1️⃣6️⃣3️⃣0️⃣ A good song a day keeps the doctor away 🎧
🔥 Pink Floyd - Echoes (1971) 🔥
https://music.youtube.com/watch?v=EAmtF84mubg&si=gCa13vUwP-eYUILZ
#music #rockmusic #music1970s #nowlistening #September2026 #pinkfloyd #musicchallenge #thursday
-
But something stirs and something tries
And starts to climb towards the lightA5J170 1️⃣6️⃣3️⃣0️⃣ A good song a day keeps the doctor away 🎧
🔥 Pink Floyd - Echoes (1971) 🔥
https://music.youtube.com/watch?v=EAmtF84mubg&si=gCa13vUwP-eYUILZ
#music #rockmusic #music1970s #nowlistening #September2026 #pinkfloyd #musicchallenge #thursday
-
But something stirs and something tries
And starts to climb towards the lightA5J170 1️⃣6️⃣3️⃣0️⃣ A good song a day keeps the doctor away 🎧
🔥 Pink Floyd - Echoes (1971) 🔥
https://music.youtube.com/watch?v=EAmtF84mubg&si=gCa13vUwP-eYUILZ
#music #rockmusic #music1970s #nowlistening #September2026 #pinkfloyd #musicchallenge #thursday
-
But something stirs and something tries
And starts to climb towards the lightA5J170 1️⃣6️⃣3️⃣0️⃣ A good song a day keeps the doctor away 🎧
🔥 Pink Floyd - Echoes (1971) 🔥
https://music.youtube.com/watch?v=EAmtF84mubg&si=gCa13vUwP-eYUILZ
#music #rockmusic #music1970s #nowlistening #September2026 #pinkfloyd #musicchallenge #thursday
-
https://www.europesays.com/be-nl/139068/ Fries Pink Floyd Project verovert de wereld: “Next best thing” #Ahoy #Amusement #BE #België #Belgium #concert #Entertainment #Music #Muziek #PINKFLOYD #PINKFLOYDPROJECT #Sneek #THEWALL
-
Roger Waters - HEY USA LEAVE CUBA ALONE
-
https://www.europesays.com/nl/304936/ Fries Pink Floyd Project verovert de wereld: “Next best thing” #AHOY #Amusement #concert #Dutch #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PinkFloyd #PINKFLOYDPROJECT #Sneek #THEWALL
-
https://www.europesays.com/be-nl/138864/ Fries Pink Floyd Project verovert de wereld: “Next best thing” #Ahoy #Amusement #BE #België #Belgium #concert #Entertainment #Music #Muziek #PINKFLOYD #PINKFLOYDPROJECT #Sneek #THEWALL
-
https://www.europesays.com/nl/304918/ Fries Pink Floyd Project verovert de wereld: “Next best thing” #AHOY #Amusement #concert #Dutch #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PinkFloyd #PINKFLOYDPROJECT #Sneek #THEWALL
-
Wish You Were Here 🥺
#PinkFloyd
https://www.youtube.com/watch?v=K6qj09OHvjw -
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
-
Roger Waters será el productor ejecutivo del documental palestino Freedom Theatre | #RollingStoneES
#ahmedtobasi #cine #cineytv #documental #freedomtheatre #gaza #jenin #palestina #pinkfloyd #rishipelham #rogerwaters
-
Roger Waters será el productor ejecutivo del documental palestino Freedom Theatre | #RollingStoneES
#ahmedtobasi #cine #cineytv #documental #freedomtheatre #gaza #jenin #palestina #pinkfloyd #rishipelham #rogerwaters
-
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
-
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
-
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
-
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
-
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
-
@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 🥰
-
Yes - 1971-1979 Bootlegs Collection - 16 Shows
t.me/media_yura15cbx/475
Genesis - Bootlegs Collection 1970-2009 (36 альбомов + 5CD Box Set)
#Genesis - #Bootlegs Collectiont.me/media_yura15cbx/467
Pink Floyd bootlegs
#Pink Floyd #bootlegs #Pink Floyd bootlegst.me/media_yura15cbx/464
Подборка варганной музыки .mp3t.me/media_yura15cbx/463
Led Zeppelin bootlegs, 900Gb
#Led Zeppelin #bootlegs, #900Gbt.me/media_yura15cbx/452
90-e mp3 60-e mp3 50-e mp3 40-e mp3t.me/media_yura15cbx/456
_Eurodance mp3
#Eurodance #mp3t.me/media_yura15cbx/457
Urban Jazz mp3
#Urban Jazz #mp3VA - Sonic Seducer Cold Hands Seduction Vol. 1-216 + EPs (254 релиза) - 1999-2020
t.me/media_yura15cbx/543
Фильмы кинематографически странных государств. Не таких странных как кндр, но всё равно не обычных.
#кино #фильмы странных стран видео #cinema #movies #video #кіно #фільми #відео #cine #películas #vídeo di #film #cinematograficit.me/media_yura15cbx/542
North korea movies
#North korea movies
фильмы производства #КНДР.t.me/media_yura15cbx/534
Crosby, Stills Nash & Young Discography (1969-2008)t.me/media_yura15cbx/514
post-grunget.me/media_yura15cbx/507
Jimi Hendrix Live
#Jimi Hendrixt.me/media_yura15cbx/500
Ozzy Osbournet.me/media_yura15cbx/489
Poland metal, Польща метал, польский металл, Polska metal, Польшаt.me/media_yura15cbx/491
Black Sabbath #Bootlegs & #Demost.me/media_yura15cbx/485
ACDC - #Bootleg Collection (145 albums), 1974-2011CHICAGO BLUES SESSION - Wolf Records
lossless ape flact.me/media_yura15cbx/577
Humphrey Bogart
#old movies #старые фильмыt.me/media_yura15cbx/568
_Canterbury Scene
#Canterbury Scene
lossless ape flact.me/media_yura15cbx/570
Camel
#Camel
lossless ape flact.me/media_yura15cbx/564
Electric Light Orchestra - Studio Discography - 1971-2015
lossless ape flact.me/media_yura15cbx/562
Emerson, Lake & Palmer (ELP) Discography
#Emerson, #Lake & #Palmer (#ELP) #Discography
lossless ape flact.me/media_yura15cbx/553
AUTECHRE
#AUTECHRE
lossless ape flact.me/media_yura15cbx/555
Brian Eno
#Brian Eno
lossless ape flac_Urban Blues
lossless ape flackt.me/media_yura15cbx/600
_Detroit Blues
#Detroit Blues
lossless ape flackt.me/media_yura15cbx/596
_Louisiana Blues
#Louisiana Blues
lossless ape flackt.me/media_yura15cbx/594
_Acoustic Blues
#Acoustic Blues
lossless ape flackt.me/media_yura15cbx/592
_Texas Blues
#Texas Blues
#lossless #ape #flack #blues #music #блюз #музыкаt.me/media_yura15cbx/589
VA – Good Whiskey Blues (Blues Paradise series, Volumes 1-18) (2002)
lossless ape flackt.me/media_yura15cbx/586
_Chicago Blues
#Chicago Blues
lossless ape flac -
RE: https://toot.community/@openculture/117034817183071849
A rather unexpected collaboration -
Salvador Dali and Walt Disney.I didn't know that Alan Parsons recorded those clocks for the tune "Time" by Pink Floyd used here as the soundtrack.
#pinkfloyd #waltdisney #salvadordali #time #animated #animated_shorts
-
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. 🤷🏻♂️ -
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 -
Illwind – The Unfolding at the End of Light Review By ClarkKent
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
#2026 #30 #Arcada #Argul #BlackSabbath #BloodIncantation #Cobra #DoomMetal #EpicMetal #IllWind #Illwind #Jul26 #LynyrdSkynyrd #PersonalRecords #PeruvianMetal #PinkFloyd #Radiohead #Review #Reviews #Sorcerer #StonerDoom #StonerMetal #TheStooges #TheUnfoldingAtTheEndOfLight #Visigoth #Windhand #YOB
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026 -
now spinning:
Pink Floyd - Live From the Los Angeles Sports Arena, April 26th, 1975 (2x CD)the first official release of the legendary bootleg on CD. I bought a couple of factory sealed audio tapes as well to bring back the authentic bootleg sound. 🎵 :vinyl:
#pinkfloyd #cd #compactdisc #cdoftheday #music #musik #photography #fotografie #nowplaying #recordcollecting #rockmusic -
Hällas – Panorama Review By Creeping Ivy
Hällas—Sweden’s self-styled administrators of ‘adventure rock’—has suffered a nearly decade-long absence from AMG. Back in 2017, El Cuervo (rightly) awarded Excerpts from a Future Past a 4.0, praising the debut for its transportive aesthetic and cohesive performances. Since this one-off review, Hällas has become a premier neo- proto-metal act, yet they haven’t reached the exceptionality of their entrance. Conundrum (2020) continued in the vein of Excerpts with a synth-heavy slow burn that (why not?) feels less adventurous than the debut.1 Redressing this safeness, Isle of Wisdom (2022) favors tighter, jauntier tunes that bleed into each other.2 On the heels of two very good albums is Panorama, the first to be released on Hällas’s own (aptly named) Äventry Records. This shift seems to signal the kind of confidence arising from a veteran band coming into their own. Accordingly, Panorama experiments more than any previous Hällas album, but experimentation alone does not guarantee Greatness.
Panorama deftly delivers Hällas’s now-familiar take on heavy, psychedelic prog rock. Indeed, these Swedes still sound like Uriah Heep counseling Iron Maiden. Pre-release single “The Emissary” and closer “At the Summit” best encapsulate classic Hällas. On these tracks, Rickard Swahn and Marcus Petersson bounce between wee-da-lee guitarmonies, Ren-faire acoustic plucks, and driving riffage. Nicklas Malmqvist supplies texture via sparkling synthesizers and percussive organ. It is the infectious guitar/key interplays, however, that define Hällas. Towards the end of “At the Summit,” Swahn, Petersson, and Malmqvist unite for delicious harmonized noodling, building drama before a serene denouement. Wrapped in warm, 70s-sounding production fans have come to expect, Panorama supplies some of the strongest Hällas tunes yet.
Panorama’s experimentations, however, make it Hällas’s most singular statement. Its boldest innovation is “Above the Continuum,” a 20-minute, 7-part suite akin to the eponymous openers of Rush’s 2112 and Yes’s Close to the Edge. On this cinematic saga, Hällas brings Gregorian chants, strings, and horns to their brand of synth-rock. Floydian voice-overs materialize Panorama’s somber narrative, in which a hermit laments encroaching dystopia atop his tower. An imperceptible escalation that finally burrowed under my skin after ten or so listens, “Above the Continuum” is an early Song o’ the Year candidate.3 How does one follow such a sprawling epic? With a trotting jam, of course. On “Face of an Angel,” another pre-release single, drummer Kasper Eriksson rides a sleazy Thin Lizzy groove with bassist/vocalist Tommy Alexandersson, who lays down a droningly hooky chorus. Hällas has dropped crowd pleasers before (“Star Rider,” “Carry On”), but “Face of an Angel” is their poppiest ditty yet and the perfect counterbalance to the opening beast. It is “Bestiaus,” though, that truly spotlights Alexandersson’s vocals. His smoky baritone and booming bellow sit center stage on this affecting piano ballad, standing alone in Hällas’s catalogue.
Five scenes spliced into one holistic picture, Panorama is a grand album, which might not register when glancing at the runtime. Like every Hällas record, Panorama clocks in at just under 45 minutes, yet its more limited track count (5, instead of 7–8) renders every song utterly distinct. There is zero filler here, only questionable moments. “Above the Continuum” has abrupt transitions in its opening minutes, but they don’t hinder the track as a whole. Additionally, the immediate fadeout on the punk ending of “The Emissary” always frustrates me. Frustration is surely the intended effect, but Hällas could have stretched the part a few measures and achieved the same. And “Bestiaus” itself feels a little like a moment, striving for songhood but not quite reaching it. Still, it’s an elegant setup for “At the Summit”—an epic but unprotracted finale.
With Panorama, Hällas has delivered (why not?) their most adventurous album, but it’s also their best work to date. Excerpts hinted at excellence—Panorama achieves it. Per its namesake, Panorama provides a virtually seamless showcase of all that Hällas has done while splendidly surveying new terrain. A fun yet serious record, Panorama puts an angelic synth-rock face on a devilish narrative circulatory system. It’s only January, but these Swedes may have already dropped the neo- proto-metal album of 2026 (and a list-topping contender for yours truly).
Rating: 4.5/5.0
#2026 #45 #ÄventyrRecords #BloodIncantation #Hällas #HardRock #IronMaiden #Jan26 #Panorama #PinkFloyd #ProgressiveRock #ProtoMetal #PsychedelicRock #Review #Reviews #Rush #SwedishRock #ThinLizzy #UriahHeep #Yes
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Äventyr Records
Websites: facebook.com/haellas | hallasband.com
Releases Worldwide: January 30th, 2026 -
MONDAY MATINEE MUSIC VIDEO: THE TYRANT KING was a children's serial drama screened in the UK in 1968. The program was remarkable for its soundtrack of progressive rock music, featuring Cream, The Moody Blues, Pink Floyd, The Rolling Stones, The Nice, and Chris/Tim Andrews “Something About Suburbia” appears at 38:44. https://www.youtube.com/watch?v=vwSBcMltsSI&t=8s
#tyrantking #moodyblues #thenice #cream #pinkfloyd #rollingstones #timandrews #candaceglendenning #mod #petertork #monkees
-
Scott Lawlor – The dark descent, and up to reascend
#Ambient #ProgressiveRock #darkambient #drone #electronic #meditation #organ #pinkfloyd #psychadelic #spacemusic #Albuquerque
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://scottlawlor.bandcamp.com/album/the-dark-descent-and-up-to-reascend -
now spinning:
Pink Floyd – Is There Anybody Out There? (The Wall Live 1980-81 Limited Edition 2x CD)this live version has never been officially released on vinyl so I went full retro and played it on Compact Disc. 💿 🤪
#pinkfloyd #thewall #rockmusic #cd #compactdisc #music #musik #cdoftheday #photography #fotografie #nowplaying #recordcollecting -
#TBT #CurrentlyWatching They're pretty much unknown here in USA, but the Shadows were a huge influence on multiple generations of British rock'n'roll from the Beatles to Black Sabbath and beyond. They seem like hella nice people too. Cheers! 🎵 🎶 🇬🇧 👍 😁 #TheShadows #HankMarvin #BruceWelch #TheBeatles #TheWho #PinkFloyd #CliffRichard #BlackSabbath #BritPop #BritRock #ClassicPop #ClassicRock #RockAndRoll #Music #Guitar https://www.youtube.com/watch?v=k3QZb9ikL_8
-
#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 5th, 2024🤘
TWISTED SISTER, GOTTHARD, METAL CHURCH, THE BEATLES, PINK FLOYD#TwistedSister #Gotthard #MetalChurch #TheBeatles #PinkFloyd #SteveLee #EddieOjeda #RickDerringer #CraigWells #ChristianOldeWolbers
-
Iterum Nata – From The Infinite Light Review
By Iceberg
Another week, another genre mashup for Iceberg, the frozen fringe-dweller. After a disappointing—and apparently controversial—dive into more straightforward waters, I was excited to spy the black/neofolk/prog tag on the newest release from Finnish one-man band Iterum Nata. Jesse Heikkinen spent some time with countrymen and fellow genre-blenders Hexvessel before striking out on his own, and this will mark his fifth solo release. After reading the heady concept of “…the birth of Darkness and Death” and eyeing a paparazzi picture of Dear Hollow on his lunch break, I hoped to find something new and untamed in From The Infinite Light. But whether or not Heikkennen can deliver on his patchwork of styles remains to be seen.
Those of you familiar with Hexvessel will have a good idea of the jumping-off point of Iterum Nata’s sound. There’s a strong element of psychedelic folk here, albeit darker and moodier than Heikkinen’s previous outfit: “Nights in White Satin” is a good reference. Much of the album is driven by acoustic guitar—standard and 12-string—and Heikkinen’s vocal styling reminds me of Roger Waters at times, Nick Cave at others. Iterum Nata augment their acoustic core with bookends of black metal (“This Gleaming Eternity,” “The Crown of All”) and a surprisingly deep bench of auxiliary instruments. Except the spoken word voice overs and some guest spots on “A Darkness Within,” it seems Heikkinen is responsible for the totality of the performances, and his work is solid enough to convince me I’m listening to a group as opposed to a one-man band.
From The Infinite Light’s greatest strength is its ability to transport the listener into the dark, nightmarish forest of Heikkinen’s imagination, and to do it in the fewest steps possible. “Overture Limitless Light” opens the curtain on a deranged vaudevillian troupe, reminiscent of Danny Elfman’s orchestral output, and is the best example of Heikkinen’s use of strange and unnerving colors. There’s a tendency to subvert expectations with chord progressions and melodies, shifting notes or chords ever so slightly, or changing to an unexpected key, giving the music an uneasy, slithering quality (“A Manifested Nightmare,” “Ambrosia,” “The Drifter”). “Ambrosia” is an album highlight, a simple minimalist ballad built around a gorgeous descending melody featuring a single lowered pitch that stuck with me long after I had passed through it. While I found the narrative a bit difficult to follow, there is a palpable sense of momentum here, with the black metal tracks acting as beginning and end, sentinels of dissonance guarding the gates of the mystical woodlands through which our hero journeys. The final track is particularly unhinged, with Heikinnen throwing everything at his drum and guitar performances. It comes a little off the rails, but within context the insanity is effective and a fitting close to the record.
As enchanting as From The Infinite Light is, there is still room for improvement. Heikinnen’s previous effort Trench of Loneliness was almost exclusively psych-folk, so the inclusion of black metal at all is relatively new, but I think it can be integrated further still. While there’s a structural argument to be made for confining the trems and blasts to the open and close, the center of the album sags due to the homogeneity of instrumentation, tempo and atmosphere. And as beautiful as I found the mix in its support of a kaleidoscope of instruments, I thought the vocals were often muddied in the back-center of the soundscape; more clarity would be helpful for a narrative album with all-clean vocals. That being said, after multiple focused listens I found myself straining for more criticism, a credit to Heikinnen’s deft use of trimmed resources to craft his record. Simplicity of material is often a double-edged blade for one-man acts, but it’s resulted in a complexity of expression for Iterum Nata that reveals maturity and skill.
I feel my final score may undersell From The Infinite Light, though that’s not my intention. Iterum Nata clearly made a strong step forward from their previous record, but the takeaway from my time with this album was that the best is yet to come. Heikinnen is well-positioned to continue his one-man metal act—I think of The Reticent in the same regard—but I’d like for him to push even further past the safety of psychedelic folk and into newer, darker, heavier, more alien sound worlds. Fans of folk or atmospheric metal will find much to like here; Iterum Nata has woven a delicate tapestry of darkness and light, well worth the price of admission.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Nordvis Produktion | Bandcamp
Websites: facebook.com | Bandcamp
Releases Worldwide: March 15, 2024#2024 #30 #AtmosphericBlackMetal #DannyElfman #FinnishMetal #FolkMetal #FromTheInfiniteLight #Hexvessel #IterumNata #Mar24 #NickCave #NordvisProduktion #PinkFloyd #ProgressiveMetal #PsychedelicMetal #Review #Reviews #TheReticent
-
Iterum Nata – From The Infinite Light Review
By Iceberg
Another week, another genre mashup for Iceberg, the frozen fringe-dweller. After a disappointing—and apparently controversial—dive into more straightforward waters, I was excited to spy the black/neofolk/prog tag on the newest release from Finnish one-man band Iterum Nata. Jesse Heikkinen spent some time with countrymen and fellow genre-blenders Hexvessel before striking out on his own, and this will mark his fifth solo release. After reading the heady concept of “…the birth of Darkness and Death” and eyeing a paparazzi picture of Dear Hollow on his lunch break, I hoped to find something new and untamed in From The Infinite Light. But whether or not Heikkennen can deliver on his patchwork of styles remains to be seen.
Those of you familiar with Hexvessel will have a good idea of the jumping-off point of Iterum Nata’s sound. There’s a strong element of psychedelic folk here, albeit darker and moodier than Heikkinen’s previous outfit: “Nights in White Satin” is a good reference. Much of the album is driven by acoustic guitar—standard and 12-string—and Heikkinen’s vocal styling reminds me of Roger Waters at times, Nick Cave at others. Iterum Nata augment their acoustic core with bookends of black metal (“This Gleaming Eternity,” “The Crown of All”) and a surprisingly deep bench of auxiliary instruments. Except the spoken word voice overs and some guest spots on “A Darkness Within,” it seems Heikkinen is responsible for the totality of the performances, and his work is solid enough to convince me I’m listening to a group as opposed to a one-man band.
From The Infinite Light’s greatest strength is its ability to transport the listener into the dark, nightmarish forest of Heikkinen’s imagination, and to do it in the fewest steps possible. “Overture Limitless Light” opens the curtain on a deranged vaudevillian troupe, reminiscent of Danny Elfman’s orchestral output, and is the best example of Heikkinen’s use of strange and unnerving colors. There’s a tendency to subvert expectations with chord progressions and melodies, shifting notes or chords ever so slightly, or changing to an unexpected key, giving the music an uneasy, slithering quality (“A Manifested Nightmare,” “Ambrosia,” “The Drifter”). “Ambrosia” is an album highlight, a simple minimalist ballad built around a gorgeous descending melody featuring a single lowered pitch that stuck with me long after I had passed through it. While I found the narrative a bit difficult to follow, there is a palpable sense of momentum here, with the black metal tracks acting as beginning and end, sentinels of dissonance guarding the gates of the mystical woodlands through which our hero journeys. The final track is particularly unhinged, with Heikinnen throwing everything at his drum and guitar performances. It comes a little off the rails, but within context the insanity is effective and a fitting close to the record.
As enchanting as From The Infinite Light is, there is still room for improvement. Heikinnen’s previous effort Trench of Loneliness was almost exclusively psych-folk, so the inclusion of black metal at all is relatively new, but I think it can be integrated further still. While there’s a structural argument to be made for confining the trems and blasts to the open and close, the center of the album sags due to the homogeneity of instrumentation, tempo and atmosphere. And as beautiful as I found the mix in its support of a kaleidoscope of instruments, I thought the vocals were often muddied in the back-center of the soundscape; more clarity would be helpful for a narrative album with all-clean vocals. That being said, after multiple focused listens I found myself straining for more criticism, a credit to Heikinnen’s deft use of trimmed resources to craft his record. Simplicity of material is often a double-edged blade for one-man acts, but it’s resulted in a complexity of expression for Iterum Nata that reveals maturity and skill.
I feel my final score may undersell From The Infinite Light, though that’s not my intention. Iterum Nata clearly made a strong step forward from their previous record, but the takeaway from my time with this album was that the best is yet to come. Heikinnen is well-positioned to continue his one-man metal act—I think of The Reticent in the same regard—but I’d like for him to push even further past the safety of psychedelic folk and into newer, darker, heavier, more alien sound worlds. Fans of folk or atmospheric metal will find much to like here; Iterum Nata has woven a delicate tapestry of darkness and light, well worth the price of admission.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Nordvis Produktion | Bandcamp
Websites: facebook.com | Bandcamp
Releases Worldwide: March 15, 2024#2024 #30 #AtmosphericBlackMetal #DannyElfman #FinnishMetal #FolkMetal #FromTheInfiniteLight #Hexvessel #IterumNata #Mar24 #NickCave #NordvisProduktion #PinkFloyd #ProgressiveMetal #PsychedelicMetal #Review #Reviews #TheReticent
-
Iterum Nata – From The Infinite Light Review
By Iceberg
Another week, another genre mashup for Iceberg, the frozen fringe-dweller. After a disappointing—and apparently controversial—dive into more straightforward waters, I was excited to spy the black/neofolk/prog tag on the newest release from Finnish one-man band Iterum Nata. Jesse Heikkinen spent some time with countrymen and fellow genre-blenders Hexvessel before striking out on his own, and this will mark his fifth solo release. After reading the heady concept of “…the birth of Darkness and Death” and eyeing a paparazzi picture of Dear Hollow on his lunch break, I hoped to find something new and untamed in From The Infinite Light. But whether or not Heikkennen can deliver on his patchwork of styles remains to be seen.
Those of you familiar with Hexvessel will have a good idea of the jumping-off point of Iterum Nata’s sound. There’s a strong element of psychedelic folk here, albeit darker and moodier than Heikkinen’s previous outfit: “Nights in White Satin” is a good reference. Much of the album is driven by acoustic guitar—standard and 12-string—and Heikkinen’s vocal styling reminds me of Roger Waters at times, Nick Cave at others. Iterum Nata augment their acoustic core with bookends of black metal (“This Gleaming Eternity,” “The Crown of All”) and a surprisingly deep bench of auxiliary instruments. Except the spoken word voice overs and some guest spots on “A Darkness Within,” it seems Heikkinen is responsible for the totality of the performances, and his work is solid enough to convince me I’m listening to a group as opposed to a one-man band.
From The Infinite Light’s greatest strength is its ability to transport the listener into the dark, nightmarish forest of Heikkinen’s imagination, and to do it in the fewest steps possible. “Overture Limitless Light” opens the curtain on a deranged vaudevillian troupe, reminiscent of Danny Elfman’s orchestral output, and is the best example of Heikkinen’s use of strange and unnerving colors. There’s a tendency to subvert expectations with chord progressions and melodies, shifting notes or chords ever so slightly, or changing to an unexpected key, giving the music an uneasy, slithering quality (“A Manifested Nightmare,” “Ambrosia,” “The Drifter”). “Ambrosia” is an album highlight, a simple minimalist ballad built around a gorgeous descending melody featuring a single lowered pitch that stuck with me long after I had passed through it. While I found the narrative a bit difficult to follow, there is a palpable sense of momentum here, with the black metal tracks acting as beginning and end, sentinels of dissonance guarding the gates of the mystical woodlands through which our hero journeys. The final track is particularly unhinged, with Heikinnen throwing everything at his drum and guitar performances. It comes a little off the rails, but within context the insanity is effective and a fitting close to the record.
As enchanting as From The Infinite Light is, there is still room for improvement. Heikinnen’s previous effort Trench of Loneliness was almost exclusively psych-folk, so the inclusion of black metal at all is relatively new, but I think it can be integrated further still. While there’s a structural argument to be made for confining the trems and blasts to the open and close, the center of the album sags due to the homogeneity of instrumentation, tempo and atmosphere. And as beautiful as I found the mix in its support of a kaleidoscope of instruments, I thought the vocals were often muddied in the back-center of the soundscape; more clarity would be helpful for a narrative album with all-clean vocals. That being said, after multiple focused listens I found myself straining for more criticism, a credit to Heikinnen’s deft use of trimmed resources to craft his record. Simplicity of material is often a double-edged blade for one-man acts, but it’s resulted in a complexity of expression for Iterum Nata that reveals maturity and skill.
I feel my final score may undersell From The Infinite Light, though that’s not my intention. Iterum Nata clearly made a strong step forward from their previous record, but the takeaway from my time with this album was that the best is yet to come. Heikinnen is well-positioned to continue his one-man metal act—I think of The Reticent in the same regard—but I’d like for him to push even further past the safety of psychedelic folk and into newer, darker, heavier, more alien sound worlds. Fans of folk or atmospheric metal will find much to like here; Iterum Nata has woven a delicate tapestry of darkness and light, well worth the price of admission.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Nordvis Produktion | Bandcamp
Websites: facebook.com | Bandcamp
Releases Worldwide: March 15, 2024#2024 #30 #AtmosphericBlackMetal #DannyElfman #FinnishMetal #FolkMetal #FromTheInfiniteLight #Hexvessel #IterumNata #Mar24 #NickCave #NordvisProduktion #PinkFloyd #ProgressiveMetal #PsychedelicMetal #Review #Reviews #TheReticent
-
#TheMetalDogArticleList
#AmericanSongwriter
7 Iconic Psychedelic Rock Albums of the 1970s
With the dawn of a new decade, the Flower Power of the 1960s blossomed into the electric mayhem of the 1970s.https://americansongwriter.com/7-iconic-psychedelic-rock-albums-of-the-1970s/
#psychedelicrock #1970smusic #iconicalbums #DavidBowie #PinkFloyd #LedZeppelin #TheWho #TheDoors #SydBarrett #JethroTull
