This Dolby Atmos 50th anniversary edition of “Wish You Were Here” may appear to be a cash grab, but underneath the surface, that isn’t the case. The bonus material, which I will discuss later, has been carefully selected. The album’s emotional weight has been enhanced by the clarity and space, so all the emotions expressed with newly resonant without losing the original spirit.
My highlights from the new version include ’Shine on You Crazy Diamond (Parts 1-4)’, which benefits from the expanded soundstage, with its synths and guitar lines gradually blossoming, making it more immersive. I also like the new version of the title track, which brings the acoustic textures closer to the track’s emotion. ‘Welcome to the Machine’ is precise and more imposing, with the mechanical elements more defined, and the final track I will mention is ‘Have a Cigar’ because the use of the improved separation gives it more bite.
I feel the bonus material only enhances the latest edition of the album. We have a new mix of the record, remastered and using Dolby Atmos, and unreleased tracks from a live concert at the LA Arena in 1975, that offers a raw edge of the band improvising onstage. There are also alternate and early versions that show how the sound has progressed throughout the years. This helps take away the idea that this edition is just a “cash grab” or “filler,” because every version has substance.
“Wish You Were Here 50” celebrates the anniversary respectfully. The new versions brighten the tracks, and the bonus material adds texture and context. It is a must-have for Pink Floyd connoisseurs, and Dolby Atmos will introduce a younger generation of listeners to the band. My one gripe with it, and to be honest, it is to be expected of them, is that the songs are very long. There are Dolby Atmos versions and live tracks that run over 25 minutes. Pink Floyd connoisseurs will adore it because it shows off the band’s prowess, whereas a casual or new listener may find it a bit too much. There are also long intros, where the first lyrics are sometimes delivered at the 8-minute mark. As for the record, the songs remain the same, but with the element of Dolby Atmos, they have never been more clearer. You hear everything, and it’s glorious.
Song recommendations: ‘Have a Cigar’, ’Shine on You Crazy Diamond (Parts 1-4)’, ‘Wish You Were Here’
This collaboration between Aerosmith and YUNGBLUD for “One More Time” just doesn’t do it for me. I feel it’s a mismatch. I quite enjoy listening to YUNGBLUD and hearing his interviews, but unfortunately, I just can’t stand Aerosmith, and that includes ‘Walk This Way’ with Run-DMC. Never understood the hype around them. Because of their presence, the EP is spoiled. The raw energy and deep lyrics are lost among Aerosmith’s trademark sound, and therefore make YUNGBLUD’s contribution redundant. The blend hampers YUNGBLUD, and his statement gets lost amid outdated production, making this short listen laborious. If, like me, you’re not keen on Aerosmith, this EP isn’t for you. I won’t be recommending any track because I didn’t enjoy any of them. I will give it a 5 for YUNGBLUD’s contribution.
No need for an introduction, as I already did “CALM”, the album named after all the members’ first names. So, onto 5 Seconds of Summer’s sixth studio record, “Everyone’s a Star!”. This effort features pop-rock, electronica, and electro-punk over reflective lyrics. The album screams confidence with its identity. It may be modern, but it still has the emotional element of the band and their melodic instincts. Now, I listened to the “Full Evolved” version, which is the equivalent of a deluxe edition, featuring songs centred around specific members and therefore giving it an even more personal listen.
As you know, I reviewed ‘CALM” and this album feels like a combination between that and “5SOS5”. Why? because “CALM” had atmospheric experimentation, and “5SOS5” was more crispy pop. The production features tight percussion, clean vocal layering, synth-heavy soundscapes, and is wrapped in personal subjects such as burnout, insomnia, self-image, and vulnerability.
The emotional element is what makes the record strong. Although there are upbeat tracks, they still have undertones of reflection. The likes of The Smiths and Oasis are known for putting melancholic lyricism over upbeat instrumentation, so they have adopted this approach.
Let us have a look at the standout tracks and give them a kind of track-by-track review. I will also include my standouts from the “Fully Evolved” section, but not explain why. I will leave it up to you to figure out:
NOT OK:
The key track that blends vulnerability with a cinematic hook. The listener will resonate with the theme, as the lyrics express… well. The title says it all.
Boyband:
The lads take a comedic approach to being labelled a boy band since they first burst onto the scene with pop-punk, which is a welcome break from the melancholy on the album.
Telephone Busy:
One of my complaints, which I will highlight in due course, is how short the tracks are, and this is a case in point. A pop track aimed at TikTok viewers, who, let us face it, have a short attention span. A polished earmworm track to say the least.
I’m Scared I’ll Never Sleep Again:
A track addressing the band’s struggle with insomnia, and a slower pace to the majority of the rest of the record. This vulnerable, atmospheric track features a sublime arrangement over emotionally powerful lyrics that will move the listener.
The Rocks:
Gritty and raw, and a great way to end the album. A quintessential 5SOS track.
The “Fully Evolved” edition is the most intimate . The tracks, as I mentioned earlier, are specific to each member and therefore more personal, and sound less polished than the majority of the tracks, which, in my opinion, works as a healthy balance. It is also great to see each member tell their own personal stories.
Now, onto something else I mentioned before, and that is how short the tracks are:
Yes, I am impressed by how the themes all tie into the album, but the shortness of the tracks is an obvious drawback.
The standard edition is just over 36 minutes, whereas the “Fully Evolved” edition weighs in at just over 49 minutes, making the listening time that little bit longer. However, most of the tracks are just finding their feet before they come to an end. Bridges, and outros are too short, and some of the songs never reach their entire journeys. This could be achieved by adding more verses or extending the bridges.
Yeah, it does not ruin the listening experience, but on certain tracks, they could have been extended to enhance it. “Fully Evolved” compensates for the brief listen of the standard edition, so I would recommend opting for the “Fully Evolved” edition.
So, my recommendation for ‘Everyone’s a Star!” is the “Fully Evolved” edition. It is emotionally honest, polished, and fits into their wall-of-sound aesthetic. The standard edition is a mixture of pop and vulnerability, and the “Fully Evolved” edition tracks are far from filler, as they take you on a genuinely personal journey of each member.
And once again, let us talk about where the record falls down. The shortness of the tracks. You want to hear more lyricism or instrumentation before they reach their conclusion. The tracks deserve more space to breathe over the quality on display.
The album as a whole is tightly produced, thought-provoking, with melancholic lyrics over upbeat instrumentation, and bonus tracks that act as more than filler,which some records tend to fall foul of.
Song recommendations: ‘Cool as Dad’, ‘NOT OK’, ‘The Rocks’
Welcome to the review of Biffy Clyro’s tenth album, “Futique”. Astonishingly, the band have been around for thirty years. My introduction to them was way back in 2010, as I suspect is the case for the majority of us. The record is once again an album that’ll lend itself to a headliner at a festival like Download or their local TRNSMT as they look out to thousands on Glasgow Green. Not only that, but they also have their own tour in vast arenas like the Hydro. In a world that is frequently bleak, Biff shines a light with a record full of headbangers, momentarily taking us away from the gloom.
The record features 11 standard-sized songs. The opener, which many of you would have heard on their current tour, at festivals, and on the radio, ‘A Little Love’ delivers fierce energy over a positive message. The band have been quiet for four years, which is their longest lull to date. Many wondered if they would return after “The Myth of the Happily Ever After,” but instead, the band spent a period of reflection, dealing with personal issues, and James Johnston was unfortunately confined to his bed. Simon Neil and the Johnston brothers, James and Ben, bring this into a sharp focus on “Futique”, albeit mainly over the kind of rock we know them for. As with any album, there is the odd downtempo ballad thrown in.
What is interesting about ‘A Little Love’ is that, although it is unmistakably a Biff track, it has more of a pop element to their usual raw sound. Despite the cleaner sound, it does not detract from the fact that it boasts excellent lyricism and a catchy chorus that’ll be belted out when they perform it.
The band have come a long way since being teenagers plying their trade by learning Nirvana songs in a pokey garage. However, that spirit hasn’t been left behind, as evidenced in the second track, ‘Hunting Season’. A track that calls out anyone who tries to be a people-pleaser. The track reminds me of Muse, for their rebellion, and The Hives, for their confidence, but the band still maintains its identity—an anthem for those who wish not to conform and remain true to themselves.
’True Believer’ tells a story of being a band member and what it’s like returning to familiarity after a lengthy period. The individual in question is frontman Simon Neil, who realises that being in a band with the brothers is what he still wants to do. The production itself features xylophones and a more complex style of drumming.
Of course, as with every album, there is the obligatory ballad, and the band’s one is the aptly named ‘Goodbye’, where they bid farewell to their latest era, where James ended up bedridden through mental health, as mentioned earlier in the review. The track also addresses the bad habits of killing time while being in the band.
The track is followed by the more upbeat ‘Friendshipping’, where romantic and platonic relationships are at the heart of the matter. Of course, that is balanced by ‘A Thousand One’, where mistakes lead to the end of a relationship, and then another ray of sunshine enters with ’Two People in Love’. That one is self-explanatory.
This is Biffy in their domain, where they show confidence and are more than happy to share their life experiences, including their personal struggles. The record does not have the best start, but that is more a result of the production rather than the exemplary songwriting.
However, as usual, they return to form as the album progresses. What is refreshing about ‘Futique’ is that Biffy Clyro have not phoned it in to get money out of the fans, but rather have thought it all through and released a record that is more than a match for their back catalogue.
Song recommendations: ‘Hunting Season’, ‘Two People in Love’, ‘True Believer’
I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.
Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.
Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.
The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.
However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.
Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.
The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.
You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.
“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.
Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’
Tom’s latest album is more than just songs to add to his growing repertoire; they are from his soul. “Everywhere I Went Led Me to Where I Didn’t Want to Be” sees him explore new sounds over fifteen tracks. He delves into his struggles with his self-belief and the confidence he has gained since those times.
Yes, Tom still has that pop-friendly sound we have associated with him since the debut record, but he isn’t afraid to flirt with a diverse range of sounds. Jazz features on ‘Certified’, disco on ‘Lonely Dancer’, and ‘Drama Queen’ with a touch of rock. This album offers a plethora of genres, characterised by frank lyricism and raw vocals.
On the surface, the record contains sing-along anthems and tracks you can dance to, but underneath you can see the vulnerability in the lyricism and of course his vocals. He discusses batting his demons over uplifting instrumentation, which represents his defiance against them.
Justin Tranter encourages Tom to use trumpets, arpeggiated piano, and, of course, find new harmonies within his vocals that captivate the listener as we go on a journey of his life.
’Somewhere Only We Go’ is a standout. The track has a blend of change and growth, sharing memories along the way. The steady tempo, drums, and a swelling guitar riff complement Tom’s vocals.
The tempo drops on tracks like ‘Cinnamon’, where he is more tender in his delivery. The track also welcomes the second half of the album. A departure from an energetic first half.
Another track similar to ‘Cinnamon’ is ‘I Won’t Miss a Thing. ‘ This emotional track is a piano ballad, where Tom can really let his emotions go, where he addresses life and even though those who have passed on still remain with us, albeit in spirit—a track where reflection is necessary.
Of course, you have tracks full of energy like recent singles ‘Full Attention’ and ‘Boys Don’t Cry’ that firmly fit into the rock category, and I will add ‘Full Attention’ to my song recommendations, but overall, the record is another feather in his cap. We have his vocals blending with the variety of instrumentals that show his ability to express power and tenderness where required. The sound may be on the whole uplifting and fast tempo, but as mentioned earlier, when you listen to the lyrics, you will hear a sadness in his soul, defiance, and maturity. My only complaint is that most of the songs are far too short. Just as you are getting into them, they are over; apart from that, the record displays every side of Tom.
Song recommendations: ’Somewhere Only We Go’, ‘I Won’t Miss a Thing’, ‘Full Attention’
My introduction to the Merseyside band came from a Mod film from 2020, and I’ve also been following several mutual fans on Twitter, so I have been in the loop, so to speak. I didn’t realise how good they were until I saw their cameo in the film. I’m shocked it took four more years to release their debut album, which I’ll discuss shortly. This band is phenomenal, and for me, they are the next Arctic Monkeys. “Pretty on the Internet” proves that.
So their debut was titled “I Wonder if the World Knows?”, released only last year, which did not get the credit until after its release, but never reached the top spot. I do not know why. It is brilliant. You can see why the guitar-driven indie rock reached No. 3. It was always going to be tough when they faced stiff competition from Beyoncé and fellow rockers The Libertines. Both of the latter reached the top spot.
Here is how good it really was: it was named the second biggest debut record of 2024. You can see why the second album has soared to the top spot. They are growing a devout fanbase and have the passion and drive to be a success. As mentioned in the Wet Leg review, it is always a challenge to exceed expectations on the second record, but The K’s have done that.
They have started where they left off with “Pretty on the Internet”. They have found their identity, which includes melodic guitar riffs over a powerful and fast-tempo wall of sound. Akin to their counterparts, Arctic Monkeys, The Libertines, The Coral, DMAs, bands like that.
However, underneath all the noise, is frontman and chief songwriter Jamie Boyle’s more delicate nature as he writes songs that are laced with vulnerability and honesty.
Something that will be highlighted in the following paragraph. His lyricism relates to the listener, and his vocals are strong and clear. Showing his ability to write songs in the background and lead the band onstage.
Returning to Jamie’s vulnerability and honesty. That shines through on the lead single ‘Breakdown in My Bedroom’. He addresses, with frank honesty, his struggles with mental health. Saying that, even though he is in the limelight, he tries to hide his actual emotional state underneath his onstage persona. Then we have anthemic tracks like ’The Bends(Here We Go Again)’, which shows the band’s ability to craft melodies, and choruses that the crowd will be singing back to them during their live performances on their forthcoming tour. At present, I believe they are also doing the festival circuit. This is why the atmosphere during their gigs is electric. The record is set to be played in full during five gigs next month.
The album isn’t just all about guitar solos or pulsing drums. There are more tender moments as heard on ‘Helen, Oh, I’, where strings and the pianos are at the heart of the track. It gives you a chance to catch your breath from a record that is otherwise going at 100mph. I love the synchronisation between Boyle’s reflective lyrics and the exemplary instrumental arrangements. They have treaded new ground with some more introspective tracks, and I do not doubt that they will continue to explore that.
The album closes with ‘Perfect Haunting’, a track that further pushes their horizons as they flirt with a more theatrical sound. It’s something to look forward to on future tracks as they show their expanding versatility. The band fuses pop-punk rhythms and raw energy with punchy rock, flavoured with indie songwriting by Jamie.
And it’s this unique blend that is not only proving popular among their peers but also attracting a growing fanbase. As they look to rise through the ranks, it’s clear that you, as part of this movement, are in for an exciting journey.
The band are not interested in being a band for nostalgia, but rather rhythms and hooks that belong in the now. They are also outshining their peers with their distinctive wall of sound. With two outstanding records under their belts, watch them grow from support acts to headliners. I thoroughly enjoyed the listen, and I think you will too.
Song recommenations: ‘The Bends(Here We Go Again)’, ‘Breakdown in My Bedroom’, ‘Perfect Haunting’
Since their self-titled debut, which I reviewed, everyone has been longing for their follow-up, “Moisturizer”. I’ve heard a rumour that the band (which is actually a duo) is planning to release their own brand of moisturising cream, and this album has been released in conjunction with it. That could all be nonsense, but who knows? I must say, before I begin a more in-depth review, that I found it fantastic. It is fun yet tender, with catchy lyrics, playful references that we have come to expect from them, new soundscapes, uplifting, and plenty of love. As I mentioned earlier, they’re a duo, but I have just done some quick research and discovered they are now a five-piece band. It is always tricky to emulate the debut record, but they have avoided the second album blues. As I mentioned, it features new soundscapes, which make them more emotionally intimate, but they still retain their identity.
We begin with ‘cpr’, a song currently being played to death on BBC Radio 1 and Radio 2. It is a song about falling in love set to a high-tempo beat, driving guitars, and full-on rock. Let’s examine some of the lyrics. There is a part where frontwoman Rhian Teasdale says, “Hello, 999, what’s your emergency?…Well, the thing is…I’m in love’ was delivered in her trademark raspy and gaspy vocals. It is both cheeky and clever lyricism. It sets the tone for the rest of the album, which is based around love. The soundscapes include 80s pop-punk and, of course, 90s indie rock. They have been discussing very deep and emotional things, but they still maintain their fun side, so the listener remains engaged rather than getting discouraged from listening.’
liquidize’ follows, a track about anxiety and wanting to desire without delay, for example. “It’s not like me to fall over heels-I melt for you, I liquidize- I want you to want me all the time’ speaks to the majority of us because when we are infatuated, we want to rush straight in, and push things forward in a relationship before it is given a chance to breathe. ‘catch these fists’ is up next, and I absolutely love it. The leading single features fuzzy guitars and garage-rock foundations, accompanied by flirtatious and sometimes threatening lyrics. It is in-your-face with plenty of attitude.
‘davina mccall’ is a soft, romantic track that leaves us pondering its connection to a television presenter. The band’s use of pop culture references, such as Davina McCall, in the chorus, is thought-provoking. They have a knack for transforming what might seem like ‘mediocre things’ into something deeply personal, which shows their creativity. This was previously demonstrated when they incorporated numerous Mean Girls references into their self-titled debut.’
‘mangetout’ sees the band further flirt with new soundscapes, as they turn into half-post-punk, half-sensical slogans, and half-whimsical daydreams. It is sure to be a success when performed live. One of the great aspects of the record is the balance between sincere vulnerability and the band’s playful nature. The tempo slows during ‘pond song’, with bassist/guitarist Hester Chambers confessing that she has “never been so deep in love” over tender guitars and a dreamy soundscape.
Then comes the extremely intense ‘pillow talk’. This raw track with pulsing addresses wanting to do everything imaginable with a crush.
The last three songs condense everything that has come before. ‘don’t speak’ uses clever language, ’11:21’ acts as someone eavesdropping on a personal, and intimate late-night call, and to complete the trio is ‘u and me at home’, which is a sweet love song. It serves as a reminder that even though the last three tracks are more tender and downtempo, they reflect that the loudest statements of love are often found in the quiet.‘
Of course, their debut was littered with songs about partying, crushes, film references, playfulness, comedy, sexual innuendos, and quick-witted one-liners. Well, their second record still includes all that and then some. The songs are bigger sonically, revealing a deeper side.
It is nice to see that the band is not a one-trick pony and will be around for a long time. This album showcases the band maturing, but just enough to preserve their fun and humorous side.
Song recommendations: ‘catch these fists’, ‘cpr’, ’11:21’
Just like Slipknot, Sleep Token’s gimmick is also donning masks. A few years ago, they exploded into the commercial arena with a unique blend of genres and an enigmatic persona shrouded in mystery that has garnered a dedicated fanbase. Their previous album was “Take Me Back to Eden”, released in 2023, where the band’s music became a bit like Marmite. I shouldn’t have to explain the meaning behind that phrase, so I won’t.
As I embarked on this review, I must confess that my knowledge of the band (or, should I say, duo) was limited. However, I was genuinely impressed after being advised to listen to their previous record. Unfortunately, “Even in Arcadia” does not live up to their earlier work. The album seems to lack a clear vision, resulting in a collection of songs that feel disjointed and lacking continuity.
Yes, I know the London duo are trying a different direction, but they were hesitant to do it. The record leans into more pop, and they do not appear comfortable with it. They occasionally tread familiar ground with rock and metal while flirting with new sounds. ‘Gethsemane’ has riffs that we haven’t heard from them before, and the heavy tracks are all too often fleeting moments. Regarding their use of pop, for example, the title track features no guitars but instead goes more orchestral. The band/duo is synonymous with the guitar, so it was a surprise that they elected to have none. I suppose they wanted to appeal to a broader, more commercial audience, so they felt it was necessary.
Despite all that, I remain impressed by II’s drumming, one of the album’s highlights. Especially when you listen to their leading single ‘Emergence’. It has a syncopated yet complex drumbeat, which is always a joy to listen to because it shows II’s skill.
Their formula is certainly weakened the further you get into “Even in Arcadia”. Their music is usually heavy, and is more restrained on this album, with Vessel’s vocals having a repetitve cadence in the trap sections. The lowest point of the record is ‘Caramel’; it is simply a mediocre pop track that rescues itself at the end with a heavy breakdown, a section where the music becomes more intense and powerful, but apart from that, it is a jarring listen. ‘Infinite Bath’, which closes the record, also adopts this approach but is only slightly better. The album itself is mediocre and lacks the energy they are usually known for.
Now, let us address why the record is a flop: the lyricism. It is basic rhubarb and custard rhyming. This is the kind of lyricism you use when beginning your journey as a lyricist. Not when you are relatively deep in your career. Honestly, I wondered if Vessel had writer’s block and just went, “Fuck it. That’ll do.”
“Even in Arcadia” is a flop, with its poor lyricism and scattergun production. The high points are momentary compared to the low ones, highlighting their flaws. However, this disappointment is not the end. There’s room for growth and improvement, and I believe the songs will stand up better onstage than in the studio. Live performances often bring out the best in music. Studio recordings can be too polished and lack that raw energy. I still believe this little bump in the road will not harm their trajectory, but I expect much better next time. ‘Emergence’ is the only highlight from a very mediocre album.
I must confess that due to the band’s rich history, it is difficult to write a brief introduction to Pink Floyd. So strap yourselves in because this is going to be a long one before I finally get to the review.
When you think of Pink Floyd, you think of more than psychedelia and progressive rock, deep lyricism, and sonic innovation. You think of extravagant light shows, brilliant cover art, and far-out films. Despite the band being currently dormant, their music still resonates to the present day.
Pink Floyd’s journey begins in the swinging 60s(1965 to be precise)in London, with the original members consisting of the late Syd Barrett, Nick Mason, Roger Waters, and the late Richard Wright. The band’s sound was a product of the psychedelic experimental era, with Syd’s whimsical lyricism capturing the essence of the time. The perfect example of this influence was ‘Arnold Layne’ and ’See Emily Play. The band was already setting itself apart from anyone else, creating a deeply nostalgic sound of the 60s era.
Of course, as most bands will experience, they were faced with adversity when their chief songwriter, Syd Barrett, who had his demons, departed in 1968. However, his departure became a key moment in the band’s wall of sound that would follow. David Gilmour would be recruited, and his blues-inspired guitar work and soulful vocals would send the band on a more progressive rock trajectory, and the songwriting would also become structured.
The band’s best period would be the 1970s, with a string of iconic albums, such as the masterpiece “The Dark Side of the Moon”, which fearlessly addressed subjects such as madness, greed, and mortality. The thought-provoking lyricism, soulful vocals and ambient soundscapes hooked listeners in, and it is not hard to see why it became a best-selling album. This was followed by “Wish You Were Here”, a tribute to the departed Syd Barrett and a critique of the music industry. “Animals” was next. A record inspired by the late George Orwell’s Animal Farm novella, with the band becoming more political. Each album showed the band’s courage in addressing more complex and controversial themes.
The final album released from this period would be 1979’s “The Wall”, a rock opera thought up by Roger Waters that explored controversial themes like dictatorship. The record would be a stage show, and a film that featured Boomtown Rats’ frontman Bob Geldof taking the lead. It showed that the band were more than just music.
The band would face more adversity when the late Richard Wright departed, and Waters would be embroiled in a legal battle with the remaining members. Even though the band appeared to be in turmoil, Gilmour would become the leader for 1987’s “A Momentary Lapse of Reason” and 1994’s “The Division Bell” Waters and Gilmour would become bitter enemies for several years while the legal battles swirled.
It wasn’t until 2014 that the band set aside their differences and returned to the studio to record “The Endless River”, an album focusing on instrumentation that remained unreleased from “The Division Bell” session during the early 1990s. It is their final album to date.
As mentioned earlier, the sleeping giant is more than just a band. They are innovators who pushed the boundaries of their use of sound and technology; they are films and embody the concept of art. Their music still resonates with listeners regardless of their age. The reason being not only for their progressive rock, but also for their ability to address complex and controversial issues. From the beginnings of psychedelic rock to being more experimental during their later records, they remain one of the most influential bands in music history and their legacy is cemented.
Now, let us begin the track-by-track review:
Pompeii:
Not much to explore here. Just a brief instrumental.
Echoes Part I:
As you can imagine, there is more room to play with live, so the band makes the live performance last more than ten minutes. The second verse stands out with David Gilmour’s axemanship, which sends shivers down your spine. The song ends abruptly after an extended guitar solo from Gilmour, and later on, you will find out why.
Careful with that Axe, Eugene:
The song has a lot of keyboard noodling by the late Richard Wright, but it goes from mellow to Roger Waters letting out a bloodcurdling scream during the frenetic section, before returning to mellow ambience.
A Saucerful of Secrets:
We encounter a unique melodic complexity as we reach the midpoint of the live album remix. While it may seem discordant, this very element is what piques the listener’s interest, turning the experience into a journey into the avant-garde nature of the song. Gilmour’s heart-wrenching wordless harmony over the final organ chords is not just a standout; it’s a moment that genuinely moves the listener. And let’s not forget Nick Mason’s drumming on the live version, which is equally captivating.
One of These Days:
It may lack the polished crescendo of the studio version, but the live version shows their ability to translate the complex soundscape onstage. Once again, Nick Mason is the standout performer, with David Gilmour dominating the second half with his effortless guitar playing.
Set the Controls for the Heart of the Sun:
The highlight of the concert. It perfectly captures their spooky and hypnotic vibe. Their dynamic soundscapes are fully displayed, showing quiet introspection into those intense and powerful crescendos.
Madomoiselle Nobs:
It seems out of place with the concert so far, despite Gilmour’s harmonica.
Echoes Part II:
As mentioned earlier, the song is split into two sections, and after the abrupt end comes the cosmic seagull section. The standout is Gilmour’s guitar performance leading into the final verse. It seems odd to split this one because it sounds much better and makes more sense in full.
The remastered 2025 version concludes with an alternate take of ‘Careful with that Axe, Eugene’, and the unedited version of ‘A Saucerful of Secrets’
Overall:
Despite the inevitable flaws of live performances, this album perfectly encapsulates the band’s experimental spirit, extended instrumental jams, and dynamic soundscapes. It’s an album that would truly come alive under the influence of a hallucinogen, with the instrumental jams conjuring up some truly eccentric images. This record will undoubtedly resonate with the Pink Floyd connoisseur, offering a unique experience that may prove challenging for the casual listener due to the lack of lyricism.
Song recommendations: ’Set the Controls for the Heart of the Sun’, ‘ A Saucerful of Secrets’, ‘Careful with that Axe, Eugene’
Honest Opinions 