#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

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 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

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

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

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

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

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

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

#PinkFloyd #ComfortablyNumb #music #Rock #UK #TheWall #DaveGilmour #RogerWaters Posted simply because it’s absolutely beautiful and I haven’t heard it for so long…
https://www.youtube.com/watch?v=mZ_GgOysu6o&pp=0gcJCTkCo7VqN5tD&ra=m

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

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

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.

Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.

It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.

The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.

I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026

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

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

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)

MONDAY MATINEE MUSIC VIDEO “Josephine” by Tim Andrews a.k.a Chris Andrews

https://www.youtube.com/watch?v=ms4IHSSkeVw

#josephine #timandrews #chrisandrews #chamberpop #britpop #psychedelicrock #echoplex #harpsichord #beachboys #beatles #beegees #leftbanke #parlophone #abbeyroad #tonyhall #davidmackay #paulbuckmaster #pinkfloyd #sydbarrett #clique #sugar #Sunday #tommyjames #edisonlighthouse #london #baroquepop

#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 🎉

Mes écoutes de la semaine du 05 janvier 2026

#OrenAmbarchi #JohanBerthling #AndreasWerliin, #FéliciaAtkinson, #EdgarOlivierCharles, #DedalusEnsemble, #BeatriceDillon, #HidekiUmezawa, #EtSans, #ThFaithHealers, #BernardinoFemminielli, #BrigitteFontaine, #EikoIshibashi, #JimORourke, #Katerine, #TheLas, #MichelleHeleneMackenzie, #StefanMaier, #Olivia Block, #HedvigMollestadTrio, #KristenNoguèsJohnSurman, #AlbertoNovello #RobMazurek, #Ø, #Osees, #JeffParker, #BernardParmegiani, #FrançoisBayle, #Perio, #PinkFloyd, #Polyphème, #Prolapse, #MatthiasPuech, #Salaryman, #ServerFarms, #SoftCell, #Stereolab, #TheStoneRoses, #Various,

#music #record

https://open.substack.com/pub/blairproductions32/p/time-travelers-turntable-3-musical?r=98j2k&utm_campaign=post&utm_medium=web&showWelcomeOnShare=false #donnajeangodchaux #gratefuldead #jerrygarcia #roywood #electriclightorchestra #ELO #themove #cheaptrick #toddrundgren #pinkfloyd #davegilmour #davidgilmour #slideguitar #psychedelic #ummagumma #johnnyjblair

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

@Juan_jo36

Todos los crímenes de Todxs han prescrito.

Afectos para ti también, Juanjo.

#fediverse #CambioClimático #Apocalipsis #FindelMundo #radiofindelmundo #cristianismo #libertad #PinkFloyd @rogerwaters @Supertramp #respeto #noticias #periodismo #hippy #Trump #books #music #humor #space #science #mathematics #1970s #PeaceSigns #givepeaceachance #1960s #peace #fridaysforfuture @greenpeace #Alternative #EndOfTheWorld #apocalypse #negacionismo #Bombaatomica #Hambruna #Alternativa #Guerra

@ArthurXXX

You're beautiful too, Arthur. Merry Christmas.

#fediverse #CambioClimático #Apocalipsis #FindelMundo #radiofindelmundo #cristianismo #libertad #PinkFloyd @rogerwaters @Supertramp #respeto #noticias #periodismo #hippy #Trump #books #music #humor #space #science #mathematics #1970s #PeaceSigns #givepeaceachance #1960s #peace #fridaysforfuture @greenpeace #Alternative #EndOfTheWorld #apocalypse #negacionismo #Bombaatomica #Hambruna #Alternativa #Guerra #neonazismo #democracia

@ArthurXXX

You're beautiful too, Arthur. Merry Christmas.

#fediverse #CambioClimático #Apocalipsis #FindelMundo #radiofindelmundo #cristianismo #libertad #PinkFloyd @rogerwaters @Supertramp #respeto #noticias #periodismo #hippy #Trump #books #music #humor #space #science #mathematics #1970s #PeaceSigns #givepeaceachance #1960s #peace #fridaysforfuture @greenpeace #Alternative #EndOfTheWorld #apocalypse #negacionismo #Bombaatomica #Hambruna #Alternativa #Guerra #neonazismo #democracia

@Annasimpson25

Thanks, Anna. You're very nice too. Best regards.

#fediverse #CambioClimático #Apocalipsis #FindelMundo #radiofindelmundo #cristianismo #libertad #PinkFloyd @rogerwaters @Supertramp #respeto #noticias #periodismo #hippy #Trump #books #music #humor #space #science #mathematics #1970s #PeaceSigns #givepeaceachance #1960s #peace #fridaysforfuture @greenpeace #Alternative #EndOfTheWorld #apocalypse #negacionismo #Bombaatomica #Hambruna #Alternativa #Guerra #neonazismo #democracia

@Annasimpson25

Thanks, Anna. You're very nice too. Best regards.

#fediverse #CambioClimático #Apocalipsis #FindelMundo #radiofindelmundo #cristianismo #libertad #PinkFloyd @rogerwaters @Supertramp #respeto #noticias #periodismo #hippy #Trump #books #music #humor #space #science #mathematics #1970s #PeaceSigns #givepeaceachance #1960s #peace #fridaysforfuture @greenpeace #Alternative #EndOfTheWorld #apocalypse #negacionismo #Bombaatomica #Hambruna #Alternativa #Guerra #neonazismo #democracia

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

Mes écoutes de la semaine du 13 January 2025 :

#Accrual, #RichardWilsonAvena, #DhanaJeera, #BrigitteFontaine, #BenLaMarGay, #Goldfrapp, #GusGus, #HumanError, #InspiralCarpets, #PhilippeKaterine, #KosmischerLäufer, #Kraftwerk, #MarquisDeSade, #McCarthy, #MakayaMcCraven, #Moby, #PinkFloyd, #LucyRailton #MaxEilbacher, #PeterRehberg, #RienVirgule,

#music #disque #reco

Selected influences (part 8)

#Wildhoney #DJShadow #ExCops #JagwarMa #JimiGoodwin #PJHarvey #TheBlackRyder #TheWalkmen #TheWeddingPresent #AhKosmos #IceChoir #Iceage #LordHuron #TheBlankTapes #TheMilkCartonKids #MilkCartonKids #TimBuckley #HidekiSakomizu #TheMonochromeSet #Balthazar #Pavement #TheAutumns #LindaPerhacs #JesusAndMaryChain #JAMC #Múm #Mum #CateLeBon #NeonIndian #UlrichSchnauss #BetaBand #Wire #PinkFloyd #KikagakuMoyo #NickDrake #Squarepusher #BritishSeaPower #Modeselektor