» » Pink Floyd - The Endless River

Pink Floyd - The Endless River album

Pink Floyd - The Endless River album
Performer: Pink Floyd
Title: The Endless River
Released: 2014
Country: USA & Canada
Style: Prog Rock
Genre: Rock
Rating: 4.3
Votes: 821
MP3 size: 1780 mb
FLAC size: 1408 mb

Tracklist Hide Credits

A1 Things Left Unsaid
Guitar – David GilmourKeyboards – Bob EzrinOrgan, Keyboards, Synthesizer – Richard WrightWritten-By – David Gilmour, Richard Wright
A2 It's What We Do
Bass Guitar, Guitar – David GilmourDrums – Nick MasonKeyboards, Synthesizer, Strings – Richard WrightWritten-By – David Gilmour, Richard Wright
A3 Ebb And Flow
Electric Piano – Richard WrightGuitar – David GilmourWritten-By – David Gilmour, Richard Wright
B1 Sum
Drums – Nick MasonGuitar, Bass Guitar, Synthesizer – David GilmourKeyboards – Damon IddinsOrgan, Piano – Richard WrightWritten-By – David Gilmour, Nick Mason, Richard Wright
B2 Skins
Bass Guitar – Andy JacksonEffects – YouthGuitar – David GilmourKeyboards – Richard WrightRototoms, Drums, Gong – Nick MasonWritten-By – David Gilmour, Nick Mason, Richard Wright
B3 Unsung
Guitar, Piano, Synthesizer – David GilmourOrgan, Piano – Richard WrightWritten-By – Richard Wright
B4 Anisina
Clarinet, Tenor Saxophone – Gilad AtzmonDrums – Nick MasonPiano, Keyboards, Guitar, Bass Guitar, Backing Vocals – David GilmourWritten-By – David Gilmour
C1 The Lost Art Of Conversation
Percussion, Guitar – David GilmourPiano, Synthesizer – Richard WrightWritten-By – Richard Wright
C2 On Noodle Street
Bass Guitar – Guy PrattDrums – Nick MasonElectric Piano [Fender Rhodes] – Richard WrightGuitar – David GilmourSynthesizer – Jon CarinWritten-By – David Gilmour, Richard Wright
C3 Night Light
Guitar – David GilmourSynthesizer – Richard WrightWritten-By – David Gilmour, Richard Wright
C4 Allons-y
Bass Guitar – Bob EzrinDrums – Nick MasonGuitar – David GilmourOrgan – Richard WrightPercussion, Synthesizer – Jon CarinWritten-By – David Gilmour
C5 Autumn '68
Gong – Nick MasonGuitar – David GilmourKeyboards – Damon IddinsPipe, Organ – Richard WrightWritten-By – Richard Wright
C6 Allons-y
Bass Guitar – Bob EzrinDrums – Nick MasonGuitar – David GilmourOrgan – Richard WrightPercussion, Synthesizer – Jon CarinWritten-By – David Gilmour
C7 Talkin' Hawkin'
Backing Vocals – Durga McBroomBass Guitar – Guy PrattDrums – Nick MasonGuitar, Backing Vocals – David GilmourPiano, Organ, Synthesizer – Richard WrightVoice – Stephen HawkingWritten-By – David Gilmour, Richard Wright
D1 Calling
Effects – Andy JacksonKeyboards – Anthony MooreKeyboards, Guitar – David GilmourPercussion – Nick MasonWritten-By – Anthony Moore, David Gilmour
D2 Eyes To Pearls
Bass Guitar – Andy JacksonDrums, Gong – Nick MasonGuitar, Effects, Keyboards – David GilmourOrgan, Keyboards – Richard WrightWritten-By – David Gilmour
D3 Surfacing
Backing Vocals – Durga McBroomDrums – Nick MasonGuitar, Bass Guitar, Backing Vocals – David GilmourSynthesizer, Keyboards – Richard WrightWritten-By – David Gilmour
D4 Louder Than Words
Backing Vocals – Durga McBroom, Louise Marshall*, Sarah BrownBass Guitar – Bob EzrinElectric Piano [Fender Rhodes], Piano, Synthesizer – Richard WrightPercussion, Drums – Nick MasonStrings – Chantal Leverton, Helen Nash, Honor Watson, Victoria LyonVocals, Guitar, Organ, Effects – David GilmourWritten-By – David Gilmour, Polly Samson

Companies, etc.

  • Phonographic Copyright (p) – Pink Floyd Ltd.
  • Copyright (c) – Pink Floyd Ltd.
  • Copyright (c) – Polly Samson
  • Licensed To – Parlophone Records Ltd.
  • Record Company – Warner Music Group
  • Recorded At – Astoria
  • Recorded At – Britannia Row Studios
  • Recorded At – Medina Studio
  • Recorded At – Olympic Studios
  • Mastered At – The Mastering Lab
  • Pressed By – Record Industry – 10900
  • Published By – Pink Floyd Music Publishers Ltd.


  • Cover, Concept By – Ahmed Emad Eldin
  • Creative Director – Aubrey Powell, Hipgnosis
  • Design, Art Direction – Stylorouge
  • Engineer – Andy Jackson, Damon Iddins
  • Engineer, Technician – Phil Taylor
  • Illustration – StormStudios
  • Management – One Fifteen, Paul Loasby, Tony Smith , Tony Smith Personal Management
  • Mastered By – Doug Sax
  • Mixed By – Andy Jackson, Damon Iddins
  • Other [LD Communications] – Claire Singers, Doug Wright
  • Photography By – Andy Earl, Harry Borden, Jill Furmanovsky, Simon Fowler
  • Producer – Andy Jackson, Bob Ezrin, David Gilmour, Phil Manzanera, Youth
  • Sound Designer, Programmed By, Engineer – Eddie Bander, Michael Rendall, Youth


Issued in a gatefold sleeve.

Made in the EU

Pressing plant uncredited, identified by the matrix numbers.

Printed on front cover sticker:
2-LP SET includes
• Heavyweight 180 gram vinyl
• Gatefold sleeve, full colour inner bags
• 16-page 275mm x 275mm booklet with
unseen photographs from 1993 sessions
• Download card

Barcode and Other Identifiers

  • Barcode (Sticker): 8 25646 21547 8
  • Barcode (Scanned): 825646215478
  • Label Code: LC 30419
  • Rights Society: GEMA/MCPS
  • Matrix / Runout (Side A, label): 825646215478-A
  • Matrix / Runout (Side B, label): 825646215478-B
  • Matrix / Runout (Side C, label): 825646215478-C
  • Matrix / Runout (Side D, label): 825646215478-D
  • Matrix / Runout (Variant 1 - Runout Side A, Etched): 0825646215478-A A
  • Matrix / Runout (Variant 1 - Runout Side A, Stamped): TML-M 10900 1A
  • Matrix / Runout (Variant 1 - Runout Side B, Etched): 0825646215478-B
  • Matrix / Runout (Variant 1 - Runout Side B, Stamped): TML-M 10900 1B
  • Matrix / Runout (Variant 1 - Runout Side C, Etched): 0825646215478-C
  • Matrix / Runout (Variant 1 - Runout Side C, Stamped): TML-M 10900 1C
  • Matrix / Runout (Variant 1 - Runout Side D, Etched): 0825646215478-D RE1
  • Matrix / Runout (Variant 1 - Runout Side D, Stamped): TML-M E 10900 2D
  • Matrix / Runout (Variant 2 - Runout Side A): 0825646215478-A TML-M 10900 1A
  • Matrix / Runout (Variant 2 - Runout Side B): 0825646215478-B TML-M RE 3 10900 2B
  • Matrix / Runout (Variant 2 - Runout Side C): 0825646215478-C RE 3 TML-M 10900 2C
  • Matrix / Runout (Variant 2 - Runout Side D): 0825646215478-D RE 4 TML-M E 10900 3D

Other versions

Category Artist Title (Format) Label Category Country Year
88875020092, 88875007882 Pink Floyd The Endless River ‎(CD, Album + DVD-V, Multichannel, NTSC + Box, Dlx) Columbia, Columbia 88875020092, 88875007882 USA & Canada 2014
88875007881 Pink Floyd The Endless River ‎(2xLP, Album, 180) Columbia 88875007881 US 2014
QoBuz Pink Floyd The Endless River ‎(18xFile, ALAC, 24 ) Not On Label QoBuz France 2014
none Seamus Seamus Revisited ‎(CDr, Album, Copy Prot., Promo) Parlophone none Europe 2014
825646215478 Pink Floyd The Endless River ‎(2xLP, Album, 180) Parlophone 825646215478 Europe 2014

How would an instrumental ambient album of Pink Floyd called The Endless River sound like? This is our version, our tribute to one of the greatest bands of all time. Hope you enjoy it. Cave of Creation. If you want more, get full album Galaxy 1 (5€/5. com/ Thank you all. Merci beacoup.

Pink Floyd - The Endless River (2014). Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

The Endless River is the fifteenth studio album by the English rock band Pink Floyd, released in November 2014 by Parlophone Records in the United Kingdom and Columbia Records in the United States. Following The Division Bell (1994), it is the third Pink Floyd album recorded under the leadership of guitarist David Gilmour after the departure of Roger Waters in 1985, and the first following the death of keyboardist Rick Wright in 2008, who appears posthumously

Pink Floyd aren't hiding the basic facts behind what will probably turn out to be their last-ever album: 'The Endless River' consists of leftovers from their last studio LP, 1994's 'The Division Bell,' includes mostly instrumental tracks and was assembled as a tribute to keyboardist Richard Wright, who died in 2008. So if it sounds like a collection of old outtakes at times, that's the point. And if it has more in common with the band's post-Syd Barrett, pre-superstardom records than the mid-'70s epics that turned on millions of headphones-wielding.

Because The Endless River is so steeped in Pink Floyd lore, it’s worth going back at least momentarily to the very beginning. Nearly half a century ago, the band started life as a middling blues-rock outfit in London, patterned largely after the Stones albeit with a much smaller repertoire. All of them-sans Waters, who left the band back in the '80s-figure prominently on The Endless River, a long, predominantly instrumental album that is said to be Pink Floyd’s final cut. All the familiar sounds are here, with each member playing his usual role. The liquid sound of Gilmour’s guitar is immediately recognizable when it enters on the second track, tracing curlicues around the straight lines of Wright’s synths.

The Endless River by Pink Floyd ( ). Ah, now I remember why punk had to happen. What's particularly irritating is the way the album apes previous Floyd tropes in ersatz manner, with the spoken-word intro mumblings of "Things Left Unsaid" simply reminding one that the comparable mutterings on Dark Side Of The Moon actually served a thematic purpose: here they're just window-dressing, luring fans into a desperately disappointing experience.

Band Name Pink Floyd. Album Name The Endless River. Released date 10 November 2014. Labels Columbia Records. 10. The Endless River in . Sound.

This is an odds and sods collection along the lines of Coda by Led Zeppelin and Let It Be by The Beatles. But it is well put together which is something that can't be said for Let It Be and to a lesser extent for Coda. Pink Floyd wrapped things up as a performing/recording act with the Division Bell 1994 and the marathon Pulse World Tour in 1995. This album is reflective and of little commercial or artistic value- a sort of aural bonus for all their loyal fans who have stuck with them over many, many years. "The time is gone the song is over, thought I'd something more to say"- Roger Waters Dark Side Of The Moon 1973
This album is mostly what remains of Rick Wright and his atmospheric sound. It is also a tribute to the great musician he was. I believe everyone should respect The Endless River for these reasons instead of mourning endlessly for a band who gived us so much already.
One comment only ( personal ) about this PRODUCT: It sucks, big style !
No, it does not. You are incorrect. Three more words.
I like the album in terms of music - it may not be the group's most inventive creation, but it is very pleasant to the ear. I like the echoes of Pink Floyd's earlier material which can be heard throughout this album. However, there is one thing about the European vinyl release that is unforgivable - the records are so uneven that when they spin, I can almost see the waves of the Danube on the platter of my turntable. I even posted a video on YT to demonstrate the effect: https://www.youtube.com/watch?v=MDOEvmiGgpU I have read about other people complaining about the same problem. Moreover, Side 4 has continuous, hissing surface noise throughout its duration. I wish I had bought the American release.
My copy of disk 1 its very warped too! its surreal for a album so well design!
I am "calling them out" on the vinyl pressing. 100% CASH GRAB!!!! It is a double LP of instrumentals with about 2.5" of dead wax on each side. Could have been a single LP for less money. Also could have had some content or substance. It is essentially all of the instrumental parts that they left off of The Division Bell. Save your hard earned money and don't put it into the pockets of the greedy millionaires that are washed up and have lost their ability to make anything new or creative. I have every Floyd album and I love them but this is my last. I will not fall for it again.
DameFerlando There is that much dead wax because records become quieter towards the center, therefore loss of detail. Not quite, closer to the center of a record, you start to get problems like inner groove distortion and overall less grooves per second. So for lesser equipment its best to not make sides too long, otherwise you need to squash dynamics, frequencies etc, because that takes up less space. It doesnt have to be quieter.
There is that much dead wax because records become quieter towards the center, therefore loss of detail.
Spoken like a true fan . . . . .
This is the sound of a body with most of the brain removed, operating largely on muscle memory. Yes, there's still skill, yes they can go through the motions and sound Floydy. But there's no direction, no guidance, no meaning. It could almost be a karaoke session band recording Pink Floyd instrumentals. That said, it's not terrible—it simply isn't noteworthy or necessary. And with a group like Pink Floyd, don't release something unnecessary and call it an album (with much accompanying fanfare). Maybe release it as a sort of musical detritus, an odds and ends collection. But not an album. This simply does not hold together as an album. It's like The KLF's "Chill Out" if it wasn't as electronic or inspired. Not needed.
There was a lot of pre release talk about this album especially since PF had not made a record in years. It was advertised as 'new lyrics over reworked older material left over from previous recording sessions.' Yeh-as in there was singing on exactly one track. The rest of it sounds like simply discarded material from other recording sessions-all the stuff that didn't fit and was put aside instead of being chucked into the trash. The instrumentals on this album are not exactly the stuff that legends are made of. I think PF did some damage to their reputation as being one of the worlds top grossing acts by releasing this blatant cash grab of an album. The cover is the best part of it. Basically this is the biggest waste of time I have ever come across in the wide world of AOR.
By 2014, Pink Floyd has nothing to prove. They've done it all: 15 minute long jam sessions, entire movie soundtracks, an album that spent 736 weeks on the charts and an album saluting their original singer. They had hit after hit, and just as many issues internally, and after almost 50 years, they decided to hang it up. Their original singer burned out on drugs, the two front men qualmed until it tore the band apart, and they returned to modest success. As far as bands go, they were one of the tightest groups to ever be. And what a fitting way to show this, by making an album in memory of their late keyboardist. They weren't seeking Billboard success, they weren't looking for massive airplay, they just wanted to return to their roots and pay tribute to their friend. And much like when the Beatles recorded their back-to-roots album "Let It Be", it was met with harsh words and dislike from the many fans who expected another DSoTM, or Wish You Were Here.Frankly, I feel like it's an excellent album. Take a listen to some of their early jam material, listen to The Great Gig In The Sky, listen to the instrumentals on The Division Bell, and see how well it fits. For their age and for the length of time they were together, it's a fantastic swan song of one of the greatest bands of all time. If it's not your cup of tea, that's your prerogative, but try to understand their reasoning, and where at in their lives they were when they made this album.It may not be what everyone wanted, but it's quite a fitting ending to their career, and for what it is, it's an excellent album.
I agree every your word. It's really true. 100%. The end of an era.
Most people don't like this for 2 reasons:1. There's no lyrics2. It sounds a lot like recycled music (mostly it sounds like The Division Bell)I'll address these 2 issues:1. Of course there's no lyrics for most of the songs, this wasn't supposed to be an album that was a big pop hit like the Wall or The Dark Side of The Moon ended up being with radio anthems. It was supposed to be a "goodbye" so to speak. Pink Floyd's best stuff happens to be the instrumentation.2. This is meant to be sort of wrapping everything up, as well as it being mostly unfinished work from The Division Bell, so that's why it sounds so similar. This album takes small portions of all the work and puts it together as sort of a "goodbye" so to speak. A final farewell if you wish.Like it or not, this is their last album. I happened to love it.
I listened to the album on a Vinyl turntable, I loved it too! :) I thought it was such a rich, psychedelic sound, when I was listening it, it felt like a dream, in a good way, as if i wanted to stay floating on the clouds forever
I don't usually like to trash albums, and so I don't bother to - if I don't like something I just ignore it. But I'll make an exception this time because very few albums manage to disappoint me so much, and even less albums manage to anger me.I wasn't expecting a whole lot to begin with - the brand name Pink Floyd pretty much died with The Final Cut as far as I'm concerned - but I WAS expecting some artistic integrity, some respect for the fans. And after all, it IS Floyd (sort of). They COULD surprise. I had hope.To call this uninspired, rehashed, lazily stitched together compilation of half-baked ideas, studio jams, sketches and 2-3 actual tracks an 'album' is an insult to record buyers everywhere. Don't get me wrong - if this was the extra CD in a boxed set of the Floyd catalog, a sort of "unfinished recorded material" thing, I would have probably enjoyed it much more, it being a glimpse into a process. Could have even been fun listening to it and imagining the album that could - and would - have been.But no - this has been released standalone, in multiple editions and formats to much fanfare, as "The Final Floyd Album", which requires a different kind of consideration altogether - especially when presented as a concept album by FLOYD, no less. The masters of the form.The first three tracks are so promising, too! This stuff sounds like prime early '70s Floyd, flexing muscle and reliving their heyday, and I was thinking, "Well, if this is just the opening - - who knows where it builds to! This is going to be A-M-A-Z-I-N-G!"... but it just goes nowhere from there. Cynically placing the good stuff at the beginning so as to hook people in, and then throwing a giant shit-ball in their face? Really?Anyway, Floyd being Floyd, I guess they did inadvertently manage to push the envelope SOME. I think we can now recognize a whole new CATEGORY of music soon to flood the shelves (We're bound to see more and more of this sort of shit as band members of various groups start dying off). This category will be "leftovers compilations presented as albums". I suggest we call it "Pribwad": **Package & Release It Before We All Die**. That category will be major in the coming decade.This album is just The Endless Ripoff. The Endless River is full of shit.I'll still buy that full-catalog boxed set, though.
Pink Floyd never made it to the 50 year mark, but they got close, and “close” is more than I can say for Endless River, and album that features an unremarkable cover of a gent sailing off into the sunset on a warm sea of clouds ... how very prophetic. But allow me backtrack, and wonder for a bit.With this many years and albums behind them, Pink Floyd have been many things to many generations, but never the same to all, and I sincerely doubt there’s a fan who hasn’t gotten lost along the way, cherishing several albums that speak to them, and forever selfishly hoping that Floyd and Pink will find their way back to those special moments. I remember seeing Pink Floyd on their first tour of America, it was an adventure to say the least, then again for Dark Side of The Moon, and Animals. For me, Pink Floyd were all about Meddle, Dark Side, Wish You Were Here, and Animals ... after that they lost me. I genuinely became tired and disenchanted by their infighting, and the constant repetition of themes; though it’s been said that an artist paints but one painting, and then constantly repeats it with variations. So yes, there are those who stand firmly in the camp of Syd, and the mid 60’s Floyd, and those rooted in the 70’s, when home electronics hit their golden age, and yes, many are still enthralled with The Wall, and all that followed. But even with all their experimentation, Endless River is not a proper Pink Floyd album, no matter how much Floyd’s members try to insist that it is.First and foremost, it’s nearly a posthumous release, as two original members have drifted downstream, and most of the material harkens back to outtakes and cutting room floor bits that at the time were deemed unremarkable, yet here, strung together with other bits and pieces from the 60’s onward, somehow people have convinced themselves that Floyd are doing what they’ve always done ... drawing from their surroundings to create a sonic landscape of vision and wonder. But it’s not a sonic landscape, for the most part it’s an instrumental album that drifts nowhere, channeling nothing, and climbs to no remarkable soaring heights. The lyrics are sparse, and when delivered, still harken to personal imperfections, wrong doings, the fact that time has passed them by, and the notion that no matter how sincere, amends can never be made with either lost family or bandmates.To be honest, Endless Rive comes off like the final two hour special for a television sit-com series, where there are endless flashbacks, outtakes worked in, and an attempt to tie things together ... and always comes off a bit disingenuous. But, this is the way of the world, people desire things to be drawn together, all of the i’s dotted, and the t’s crossed. If anyone should know that the curtains can not be drawn, and the door quietly closed, it’s Pink Floyd, a band who made their mark by painting a hallucinatory sky. I do not relish this bit of reality …Review by Jenell Kesler
I'm sorry but it's a dull album. None of the tracks really stand out except the one with lyrics and that is only because it HAS lyrics. Give me Atom Heart Mother or Echoes as examples of exciting Pink Floyd music (without lyrics) any old day.
What can I say about The Endless River by Pink Floyd. If you're expecting scathing political satire, with venomous lyrics ala Roger Waters, then you're going to be disappointed. If you're expecting outtakes from the Division Bell then you will be content because that's exactly what it is.Its not a bad collection of songs but its no masterpiece and will probably sit comfortably next to your other Gilmour albums: DB and Momentary Lapse of Reason.You can tell its definitely a Gilmour era Floyd album, lacks any real dynamics and after 20 years Dave still hasn't found anything to write about. That's why he roped in his Missus, Polly Sampson to provide lyrics for the last track on the album. Which is disappointing because they are quite embarrassing. I would have been happy with a full instrumental album.Like another reviewer has said you will hear a snippet of Shine On here, and a snatch of Run Like Hell there and to be quite frank kinda made me what to turn it off and go listen to those respective albums. And sadly that basically sums up this record.
last night I only played the Bluray (one can get a BR player for $70 ya know ) I started with the video footage of The Division Bell sessions and the bonus tracks That made me a little nervous about what the actual album would sound like since I wasn't impressed with the raw stuff Then I played the 5.1 of the actual album and heard this: Side 1 - Welcome To The Crazy Diamond 9314 Side 2 - A Saucerful of Sysyphus going through The Narrow Way to the Grand Vizier's Garden Party where the happy ending happens Side 3 - Run Like the Wrighting could have been on The Wall Side 4 - The Bright Side Of The MoonA perfect summary of the history of Pink Floyd, instrumentally speaking.
Ok, I got the album, I have listened to it, here are 5 points in my opinion (fast track):1) this is a truly great album with fantastic music.2) this is a classic post-Waters Pink Floyd music.3) Waters could not participate because the album is from division bell sessions.4) should have artwork from Thorgerson's past (not issued) works to honor him.5) if the album becomes classic, time will tell...(I think it will)
Captain America
Well, look what happened: when I found out that a new PF album was in production I was thrilled.Then I listened the sample audios from the official site and I saw the artwork. My thrill decreased...I mean a lot!Afterwards (last week) I saw the critic reviews and I was confused. I mean all kind of reviews: good, medium, bad, suck.So, I decided to do this: not to listen or read anything until my copy to come.5 hours ago, when I was unwrapping the LP, I was waiting to listen the little brother of division bell (as the final cut was for the wall), and I listened really something completely different (as Mason said). Old stuff, new ideas, beautifully combined for 53 minutes.I also remember the reviews for TDB, which were bad (2 out of 5) back in '94. 20 years later, the reviews changed. So, give the album some time.Oh, and one last thing:I believe that High hopes is a better closure to PF history than Louder than words. (The only flaw I found in the album)
I agree With you on the Storm Thorgerson idea of using something that he created as the front cover. That would have been a fitting gesture being that the album is a gesture/testament to him and Wright. Thorgersons catalogue of unused imagery is a list almost endless. Maybe something Gilmour and Mason did not think of. I disagree that this will be looked back on as a classic album. The sound is superior. The songs are pleasant yet mediocre.
So, what do I think of it? Well, I like it very much. Let me explain. Often it is very recognisable Pink Floyd, some riffs have even been copied 1:1 from old songs. On purpose. But also very contemporary soundscapes are part of this. And somehow it all moves me. Guess it means I like it. It is like a string of bittersweet memories from the past. The music floats around your room, and just when you think you can grasp it, yes, something else happens, another memory pops in. For a band that doesn't exist anymore, it all makes artistically sense.A few words about the production. Less slick and less polished than the Divion Bell, this actually sounds better, and ranks amongst the best sounding Pink Floyd albums for me (Nope, not up there with DSOFTM). The vinyl version sounds spectacular!I have noticed that this has been bashed by the press (although there are positive reviews too). And I can understand why. It’s the fact that you can’t grasp the songs. Is that bad? Obviously not. It's all about memories. The Endless River is a wonderful, emotional, and moving listening experience. Pink Floyd is no more. Let the sound of sweet Pink Floyd memories fill the room!
I'm not sure about that release date someone changed to November 7th. I've received my LP copy on November 4th and invoice date is October 29th and I still think that the release date should be November 10th, as official Pink Floyd website says, but I'm not changing it, cause I don't feel in authority to do so.
crazy mashine
Apparently it was the release date for Germany
Ok. After many months of waiting my double deluxe vinyl and cd (non-deluxe) arrived today. I have not wrapped open the Lp and think I will keep it Sealed because the cd sounds outstanding. I prefer vinyl, but strongly dislike double albums With all the flipping of sides etc. The Music fills the room and is layered and filling. The album sounds pretty much exactly like I expected it to. The Music is pleasant. The dreadful Samson lyrics are so banal it is a blessing she only got one lyric in. Thankfully it is the last song on the album so it is easy to avoid. I gather this will be a Nice piece of hifi play loud while cleaning the house or writing a song. The sound is as good as I have ever heard a cd. Kinda cool to have a Sealed copy on vinyl. Want to look inside but I might eventually get a chance on someone elses copy.
Having listened to this album I can tell you that it is exactly what you should expect from a collection of Pink Floyd ambient instrumental out-takes. If you are like me, that means you love it. There are moments that rock, there are moments that wander aimlessly, and there is exactly one song with old man Gilmour croak-crooning. But all in all, it is a Pink Floyd album full of material we haven't heard before, produced beautifully, and that makes it special.
They are far more developed than random jams, and they are put together very cohesively (as four separate movements, one per side). There are extended periods of tension developing and then releasing. No way I could call it throwaways.
Prev 1 2 Next
© All right reserved. 2015-2019
Contacts | Privacy Policy | DMCA
Music albums are provided for reference only