“The Endless River” is the name of a brand new Pink Floyd album to be released later this year. The material on this album originate from the 1993 “Division Bell” sessions when David Gilmour, Rick Wright and Nick Mason played freely together at the Britannia Row and Astoria studios.
In 2013 David Gilmour and Nick Mason revisited the music from those sessions and decided that the tracks should be made available as part of the Pink Floyd repertoire. It would be the last time the three of them would be heard together as Pink Floyd keyboard player Richard ‘Rick’ Wright would die in 2008. The band have spent the last year recording and upgrading the music, using the advantages of modern studio technology to create “The Endless River”.
“The Endless River” is not surprisingly a tribute to Rick Wright. It is a mainly instrumental album with one song, “Louder Than Words” holding new lyrics by Polly Samson, arranged across 4 sides and produced by David Gilmour, Phil Manzanera, Youth and Andy Jackson.
Release date: 10 November 2014.
Out on June 30th is the 20th anniversary box set of Pink Floyd’s “The Division Bell” album. Set for release on 30 June 2014, “TheDivision Bell” was the last studio album to be released by the band consisting of David Gilmour, Nick Mason and Richard Wright. This 20th anniversary box set features six discs, including 3 replica coloured or clear vinyl discs, 5 collectors’ prints, a Blu-ray disc and for the first time Andy Jackson’s 5.1 audio mix of “The Division Bell“.
“The Division Bell” has since its release in 1994 reached total album sales of over 12 million. The album was recorded by the band at Astoria and Britannia Row Studios with the majority of the lyrics being written by Polly Samson and David Gilmour. David Gilmour said at the time: “The three of us went into Britannia Row studios, and improvised for 2 weeks. Playing together and starting from scratch was interesting and exciting, it kick started the album and the process was very good, it was collaborative and felt more cohesive.”
Background video description:
made Vocaloid sing “The Great Gig in the Sky ”
gattobus has shared this little video with us:
“This was obviously the first thing I could play on this little box…
Dave Gilmour makes a very special guest appearance for Comfortably Numb during Roger Waters performance of The Wall at London’s O2 Arena on 12th May 2011. They were later joined on stage by Nick Mason , marking 30 years since they last performed The Wall in London
Back in the days
Pterodactyl Squad – a video game music netlabel – has released The Dark Side of the Moon – The 8-bit Album.
38 years ago today Pink Floyd’s The Dark Side of the Moon was released in the UK, and Pterodactyl Squad are marking the date with their 30th release, The Dark Side of the Moon – The 8-bit Album.
After the success of Weezer – The 8-bit Album in 2009, the Squad assembled an “all-star cast of chiptune talent” to create a VGM-inspired tribute to 1973′s, The Dark Side of the Moon. All 9 tracks have been filtered through an 8-bit lens, and while each artist brings a different sound and creative angle to each track, the album flows seamlessly together, just like the original.
Pterodactyl Squad says:
Although attempted numerous times before, Pterodactyl Squad have finally done the original album justice with the definitive 8-bit interpretation of Pink Floyd’s progressive rock classic.
Produced as an 8-bit mirror of the original, the music on this release was created using sounds from various old games consoles including the Sega Mega Drive and Nintendo Game Boy.
Featuring tracks from Bit_Rat, EvilWezil, khades, Rabato, sergeeo, Videogame Orchestra, Jason Vincion, echosignal and Brad Smith and Temp Sound Solutions, the album is free to download.
Former Pink Floyd and T Rex manager Peter Jenner, now emeritus president of the International Music Managers’ Forum, talks online music, copyright and the future of the music industry.
>Was the UK Digital Economy Act right to focus on copyright?
I can see what they were trying to do, but where they went wrong was in obsessing about piracy and P2P (peer-to-peer) filesharing. It became about how we stop P2P and in my book stopping P2P is like trying to stop it raining. The whole internet is built on copying.
The act focuses on a false problem. That is not to say that people not paying for music is not a problem. But P2P is just one of many ways in which you can access music for free. People have memory sticks, blank CDs, email, instant messaging, so I think it was a very facile look at the issue which was driven by the copyright industry.
>What angle should the government have taken when debating the act?
They should have looked at the question the other way round by taking into account how people access their music. If what we want is to make sure the creators are properly rewarded then we need to work out how we can find the systems which work and are consistent with the way the public uses digital material, technology and devices. My position, essentially, is that when you buy a broadband connection you are not using it to access your email, you are primarily using it to get content. What we should be doing is charging for use of music on the internet in an unobtrusive way.
We already do it on radio. People buy their BBC licence and one of the things it pays for is music, both in terms of employment of musicians and royalties. A lot of creative content is paid for by the BBC. We should be looking at a similar model for the internet.
>Will the act help stamp out piracy?
It might move P2P from unencrypted services to encrypted services and from major internet service providers (ISPs) to intranets. But if the major labels start suing people it will increase people’s hostility towards them and towards the music industry and will decrease the likelihood of people paying for music. And it will destroy revenue. The costs of administering the act will be phenomenal and that cost will rightly be stuck at the door of the industries who wanted it. It’s basically unenforceable.
Thanks to Strategy Eye and Sarah Vizard