New Pink Floyd album coming out in October?

[Leeway]

I was a teenager when Pink Floyd made its appearance. It was considered "head music" at the time by a lot of people, i.e., music to smoke marijuana by. Not a criticism; indeed a rather hallowed niche. I think what imprinted PF on the minds of American teens was that (in)famous phrase "Careful with that axe Eugene." A lovely phrase for crazed youth.

[A Lark Ascending]

It's worth remembering that at the end of the 60s/start of the 70s the moon landings were transfixing us all. Science fiction was very popular. PF managed to translate that to music (even bits of Ligeti were getting mainstream listening via the 2001 soundtrack). By DSotM (despite the title) the novelty had worn off.

It's very hard to explain the sense of possibility and outward exploration that period had to people who came of age in more cynical times.

Edited July 11, 2014 by A Lark Ascending

[Scott Dolan]

A Lark, you have made some really outstanding points here, but I'd like to take them one at a time, if you'd indulge me.

Again this is all perception, but what appeals to me about AHM is the unevenness (not in quality but texture and shape).

Yes, I completely agree with this assessment. It's actually what I meant, but didn't find the right words to convey it. It is an album made by a great group of minds who seemed to know exactly what they were going after, but still hadn't found the exact way to execute it. It strikes me as more an EP than a LP proper. Many disparate parts, yet somehow accidentally pleasing.

Whereas DSotM sound like a more conventional album to me with a built in 'hit' (you almost sense a record company guiding them towards a more commercial approach, something I'm sure they would have bristled at, and yet...). Not knocking that but at the time I loved it for a few weeks and then found it's attraction wear off quickly. Now that happens with everything at some point - I just find I need to leave it longer than the earlier records between plays to really enjoy it..

This sums it up for me, as well. A very good album, but I must admit that I still find it "overrated" to this very day. I use the quotations because in the grand scheme of things it is outstanding in almost every way, but somehow still granted a status I'm not convinced it has earned. If it were the only PF album I could listen to for the rest of my life, I'd be OK with that. But, they had better albums, IMO.

What I like about 'WYWH' is the way the strong songwriting is balanced with the extended structures.

Absolutely, and without any question. This is exactly why it has been my favorite Rock album for the past three decades. There is such a perfect balance between "radio ready" (sorry, I couldn't think of a better term) tunes and the extended workouts that they seemingly perfected on that album. And unlike AHM, it was cohesive from beginning to end. And the "full circle" nature of it just made it that much more astonishing.

But what they were brilliant at in their extended pieces was establishing a sense of mood. The long tracks on 'WYWH' work because of the effective textures that build up the moods rather than any particularly clever playing.

Another strong point, but one where we might diverge slightly. It wasn't until Echoes that I thought they competently established a sense of mood. Pretty much all of the extended workouts before that seemed to meander to their detriment. I'm willing to review and reconsider, but the live stuff on Umma Gumma, for example, just seemed like a band lost in the wilderness desperately searching for a way out.

Perhaps that's mood, in a certain sense. But, it seems like Echoes and Shine On betray that argument. And later the excellent Dogs. But, I'm willing to concede I may be confusing mood with cohesiveness. Dunno...

It's worth remembering that at the end of the 60s/start of the 70s the moon landings were transfixing us all. Science fiction was very popular. PF managed to translate that to music (even bits of Ligeti were getting mainstream listening via the 2001 soundtrack).

And to think that Kubrick essentially beat us to the moon! (though he and Arty Clarke got the weightlessness part wrong)

But, your point is yet another good one. Reason being that Kubrick and Pink Floyd both gave us what can only be called "timeless" masterpieces. Whether you're watching 2001: A Space Odyssey, or listening to early-to-mid 70's Floyd (Dr. Floyd?), you can't help but get a sense of timelessness because they still have a certain level of modernity. Both were ahead of their time, yet both seem to hold their own era after era due to their forward-looking vision in their respective art forms.

IMO, you could listen to something like Sgt. Pepper's and know right away it was a product of the 60's Psychedelic sound. But, could you pin something like Wish You Were Here as strictly mid-70's? The production is as good, or better, than any modern day production, and it lacks any actual context.

Sorry, I'm rambling. I hope some of that made sense.

[7/4]

I know where Chuck is coming from. I was never a record store employee, but I listened to a lot of radio until the mid-'80s and got really burned out of a lot of classic rock. I just get sick of hearing the same shit over and over again

[danasgoodstuff]

But, your point is yet another good one. Reason being that Kubrick and Pink Floyd both gave us what can only be called "timeless" masterpieces. Whether you're watching 2001: A Space Odyssey, or listening to early-to-mid 70's Floyd (Dr. Floyd?), you can't help but get a sense of timelessness because they still have a certain level of modernity. Both were ahead of their time, yet both seem to hold their own era after era due to their forward-looking vision in their respective art form

So does why/that I don't care for one explain why I don't care for the other, or vice versa, or either?

[A Lark Ascending]

I just get sick of hearing the same shit over and over again

I wasn't aware that anyone was suggesting you should be.

Most posters here are just expressing the facts that some/many/all of the PF's records still bring them pleasure. And if you look at the people posting you'll find them elsewhere on the site enthusing about new music as well (and all sorts of genres).

What amazes me is that, in the natural scheme of things, the PFs music should by now only be of interest to those of us collapsing into old age, wallowing in nostalgia. But I constantly come across kids in their teens who've come across them one way or another and absolutely love them (maybe in the same way I came across Duke Ellington at a relatively early age even though he had absolutely no connection to my everyday life.

When the final and definitive musical history gets written I suspect PF probably won't even be noticed - but there is something there that makes listening to their records a pleasure every now and then for those of us who knew them all those years ago; but what is interesting is that there is also something that continues to attract new listeners, which isn't bad for a group who might have sold mega-units but who haven't been 'hip' for 40 years or so.

Edited July 12, 2014 by A Lark Ascending

[Shawn]

I think he was talking more about the nature of programming on US classic rock radio than just Pink Floyd. I completely understand because I've gone through periods of my life where I was burned out on a lot of rock, especially the bands most frequently played on classic rock radio.

The cure (for me) was getting into jazz and taking a really long break from a lot of the most-played artists. Eventually I tested the waters and realized my burnout had passed and I started getting back into rock again.

[A Lark Ascending]

Yes, I can see that. Most radio stations here are much the same with 'classic rock' as one format. But you know that's what you'll get so you listen elsewhere. The options these days - internet radio, buying recordings, streaming - are nigh on infinite.

I can't say I hear PF except when I choose to put on a record myself (rather different to autumn, 1973 where you couldn't go anywhere in my university hall of residence without DSoftM drifting out of a room....that or Tubular Bells [now there's a record I couldn't bring myself to listen to for decades...really enjoyed it when I played it again last year]!).

Edited July 12, 2014 by A Lark Ascending

[7/4]

I think he was talking more about the nature of programming on US classic rock radio than just Pink Floyd. I completely understand because I've gone through periods of my life where I was burned out on a lot of rock, especially the bands most frequently played on classic rock radio.

The cure (for me) was getting into jazz and taking a really long break from a lot of the most-played artists. Eventually I tested the waters and realized my burnout had passed and I started getting back into rock again.

correct.

[Steve Reynolds]

I think he was talking more about the nature of programming on US classic rock radio than just Pink Floyd. I completely understand because I've gone through periods of my life where I was burned out on a lot of rock, especially the bands most frequently played on classic rock radio.

The cure (for me) was getting into jazz and taking a really long break from a lot of the most-played artists. Eventually I tested the waters and realized my burnout had passed and I started getting back into rock again.

correct.

Here Here!!

[Guy Berger]

But what they were brilliant at in their extended pieces was establishing a sense of mood. The long tracks on 'WYWH' work because of the effective textures that build up the moods rather than any particularly clever playing.

Another strong point, but one where we might diverge slightly. It wasn't until Echoes that I thought they competently established a sense of mood. Pretty much all of the extended workouts before that seemed to meander to their detriment. I'm willing to review and reconsider, but the live stuff on Umma Gumma, for example, just seemed like a band lost in the wilderness desperately searching for a way out.

I don't think the live album on Ummagumma is necessarily the band playing at its best; listen to the Fillmore West concert from April 1970 or one of The Man & The Journey concerts, this was definitely not "a band lost in the wilderness desperately searching for a way out." But after 1973 the concerts gradually became more scripted, predictable affairs. And by the time you got to Animals, the magic was rapidly draining from the studio work too.

[Scott Dolan]

I know where Chuck is coming from. I was never a record store employee, but I listened to a lot of radio until the mid-'80s and got really burned out of a lot of classic rock. I just get sick of hearing the same shit over and over again

Then don't. Problem solved.

[7/4]

But what they were brilliant at in their extended pieces was establishing a sense of mood. The long tracks on 'WYWH' work because of the effective textures that build up the moods rather than any particularly clever playing.

Another strong point, but one where we might diverge slightly. It wasn't until Echoes that I thought they competently established a sense of mood. Pretty much all of the extended workouts before that seemed to meander to their detriment. I'm willing to review and reconsider, but the live stuff on Umma Gumma, for example, just seemed like a band lost in the wilderness desperately searching for a way out.

I don't think the live album on Ummagumma is necessarily the band playing at its best; listen to the Fillmore West concert from April 1970 or one of The Man & The Journey concerts, this was definitely not "a band lost in the wilderness desperately searching for a way out." But after 1973 the concerts gradually became more scripted, predictable affairs. And by the time you got to Animals, the magic was rapidly draining from the studio work too.

I think so too.

[Teasing the Korean]

Oh, where are you now, pussy willow?

[Guy Berger]

Discuss: THE MAN & THE JOURNEY was Pink Floyd's best concept album.

[Scott Dolan]

Currently spinning the Blu-ray disc in 5.1 DTS Master Audio. Listening to strictly audio really exposes the stark contrast between my Polk Audio surrounds as opposed to my Dynaudio mains. Still not that bad, all things considered.

About 20 minutes in at this point.

The first three or four tunes are a modern re-imagining of some of their best instrumental moments from the early to mid 70's. It's What We Do is Shine On You Crazy Diamond, almost to the letter. And Anisina is almost a direct re-imagining of Us And Them.

This is definitely "retro" Pink Floyd. If not for the fact that they were trying, quite blatantly, to channel their glory days on The Division Bell, you'd be hard-pressed to believe most of this came from those 1994 sessions.

So far, so good.

Allons-y (1) started as I was typing. Nice Wall-era jam.

Overall, I'm very happy with the results. A nice "send off". Unless it falls apart from here.

You could tell these three cats were simply enjoying themselves, and trying to recapture a fire from long ago. And not doing all that poorly...

Thumbs up!

If you were a fan of 1971-77 Pink Floyd (Meddle through Animals), this album is a must have, IMO.

Edited November 10, 2014 by Scott Dolan

[Guy Berger]

I don't feel an urgent need to pick this up, but will probably get around to it eventually.

It's interesting that this one is getting a fairly positive critical reception, unlike The Division Bell which was (to my mind unfairly) panned upon release.

[Scott Dolan]

It's really good material. Gilmour and Mason really gave Rick Wright a fitting tribute.

[Shawn]

It's a wonderful album, especially in headphones. A fitting tribute to the legacy of Rick Wright. The bonus jams on the blu-ray are just as enjoyable as the album itself.

The sound of David Gilmour's guitar is one of my favorite things in the universe.

[Scott Dolan]

Gilmour's tone is unrivaled, IMO. And you're absolutely right concerning the bonus tracks. Haven't listened through the cans yet, but I'm definitely looking forward to it!

[Rooster_Ties]

Love it. Better than most of AMLOR by a mile, and more fun (at least for me) than The Division Bell (which I do like, but has been slow to grow on me, mostly only over the last 5 years).

The Endless River might be my favorite Floyd (or Floyd-related) release since Animals. And a fitting tribute to Rick, RIP.

[Shawn]

I do like some of the material on Momentary Lapse and The Division Bell, but I think The Endless River actually sounds more like Pink Floyd than either of those albums.

[Ligeti]

I was pleasantly surprised by this. I may be alone, but I've found all of their post-Waters material to be pretty dire. For me it like listening to a slowly decaying cadaver of a band, with turgid droll lyrics and dirge like music.

But this.... this is much better. My only issues with it are the opening voice snippets, and the lyrics to the only song. Is this really how they want the whole thing to end? How sad. I've seen fairly recent interviews with Waters, and he's very concilliatory. But this? It's long passed time they vuried the hachet somewhere other than in the back.

Still, that aside the current album is fantastic.

[Shawn]

I'm glad Waters didn't come anywhere near this. Remember, he's the guy that fired Rick Wright from Pink Floyd and then brought him back as a salaried employee for The Wall tour....but did not let him contribute to The Final Cut.

This album is a loving tribute to Rick Wright, if Waters had joined I would have found that distasteful considering how he treated Rick.

[Rooster_Ties]

I do like some of the material on Momentary Lapse and The Division Bell, but I think The Endless River actually sounds more like Pink Floyd than either of those albums.

I didn't mean to come off as being as negative about AMLOR and The Division Bell as I did. The production on AMLOR is what hurts it most, but Gilmour's guitar is thrilling throughout, and 75% of the tunes are good (if not great, though perhaps a couple are ). And The Division Bell is a lovely album, without a whole lot to say that's negative (at least not from me).

Still, I have been very pleased with The Endless River, which I had expected to like, but wasn't sure how "exciting" it would really be. But, to my surprise, it does appear to have a fair bit of meat on its bones, and although not all of it is "exciting" in the classic sense of that term, it is digging its claws into my brain with each successive spin, to its great credit.