Regular users of this site would be aware that since 1998 we have been completely independent.
That is, we do not receive any fundingfrom outside sources (Unlike some other sites).
The truth of the matter is that the site is run by fans for the fans, For ourentire existence we have funded site fees from our own pockets, with the occasional appeal to fans to help contribute.
Last month we launched an appeal to secure the sites running costs for the next 3 years and beyond.
We are so greatful for the outpouring of support shown from everyone involved, Within the first week we secured more than we originally anticipated and our grand total was$1055 (AUS) / £590 / $815 (USA).
A huge thak you go to all our donaters and everyone else involved (In no particular order) : Chester Kamen, Anthony Smith, Jort Maas, Roger Blake, Jon Carin, Theatrice Westbrook, Edwin Ammerlaan, Duncan Beach, M Stutzer, Hayk Matirosyan, Gina Ramirez, Jacob Krug, Thomas Eisenhardt, Richard Allen, Enrico Soldatini, Hazel Spooner.
Professor Gilad Cohen further explores The Floydian Style
Debuting on March 3rd, educator, musician, and Pink Floyd pundit Gilad Cohen is offering a remote lecture series entitled The Floydian Style for the general public and Floyd fandom to experience. Cohen – who along with Dave Mock co-created the academic conference Pink Floyd: Sound, Sight and Structurewhich was held at Princeton University in 2014 – has been teaching Floydian curriculum for nearly a decade now as well as lecturing and publishing in the field. In light of this new endeavor I was curious to catch up with Gilad regarding the series as well as other Floydian-related inquiries. My thanks to Gilad for his time and thoughtful responses.
In the aftermath of the Pink Floyd Conference and how complex an event it was to put on, how did it affect your relationship to the music and to fandom overall, if at all?
Putting on the Pink Floyd Conference with my friend Dave Molk was indeed a huge undertaking, but having memories of moments such as the 6-hour surround listening session, and hearing from people later what the conference has meant for them, make it all worth it. One of the things I realized during the Conference is how many Pink Floyd fans are eager to dig deeper into the music, discuss it with others, and learn more about it. I don’t think this is true for many rock bands. In the case of Pink Floyd, it often happens that we listen to an album we’ve known for years, and yet we suddenly discover another cool guitar part, or production trick, or effective moment of marriage between lyrics and music that we’ve never thought about before. This is why I still enjoy writing and lecturing about it, and I also find that it informs my own compositions for the concert hall.
How did the lecture series come about, beyond your desire to further explore the music of Pink Floyd from a more technical perspective rather than merely one of cultural criticism?
I’ve been teaching an extensive 4-credit course about Pink Floyd’s music for 7 years now at Ramapo College of New Jersey, where I’m an Associate professor. My focus isn’t the history of the band; there are excellent books and videos out there about it. Rather, my students and I attempt to understand how the building blocks of lyrics, composition, arrangement, production, visuals, and their intersections make Pink Floyd’s art so powerful, and we also touch on broader issues such as originality and authenticity, expectation and perception, and art and emotion. This lecture series is an opportunity for me to discuss these things with a wider audience. For instance, a core question in this series is how the band’s style has evolved through the years. The early Barrett-led music is so different than that of Wish You Were Here, and The Wall presents yet another huge leap. Can we identify common threads from Barrett’s style through the Gilmour-led era? In what ways do Atom Heart Mother and Meddle form the style of The Dark Side of the Moon? I can’t wait to talk about these issues with fellow Pink Floyd enthusiasts.
Character design in Pink Floyd's "Goodbye Cruel World"
It must be quite a challenge for you as an educator in the pandemic era, especially given your particular field. How difficult has it been to teach music in the online realm?
Teaching performance remotely is really hard, so in my performance classes we try to meet in person at least a few times during the semester, for practicing things like bass and drum grooves, following each other’s cues, etc. When teaching composition and songwriting remotely, I am actually surprised how meaningful some of our discussions are, and how much we get to know one another through sincere sharing of one’s art and heart. The pandemic era also has its positive sides: everyone is now accustomed to using Zoom, and I find myself giving international remote lectures on a regular basis. It’s wonderful to be able to connect simultaneously with people from different places around the world.
The reissue campaign from 2011 was titled Why Pink Floyd…? and so I’d like to ask you the same question, after a fashion. In the 21st Century, what makes Floyd relevant, or as relevant as they were in the 20th Century?
Lyrically, many of Pink Floyd’s subject matters are relevant in the 21st century just as they were in the previous century. Some topics seem more relevant than ever – The Wall resonated with Donald Trump’s vision of a wall in the Mexican border (a connection made clear by Waters himself), the themes of Animals and The Dark Side of the Moon resonate with the feelings of isolation and anxiety during the COVID-19 pandemic, and the pressures of modern life that are portrayed in much of Pink Floyd’s work have continued if not even increased in the past few decades.
Musically, I find that many contemporary pop and rock artists in the mainstream tend to go for the safe and familiar. It often feels like the goal has become to make your song as similar to others as possible, rather than to explore your soul and cave a personal artistic path. Likewise, instrumental sections seem rarer and shorter than ever (when was the last time you heard a 30-second intro in a new song on the radio?). Pink Floyd, however, have avoided formulas and explored inventive ways to express their ideas, making their music specific rather than generic. So, I think their music still stands out and continues to influence others.
The Floydian Style is an eight-part lecture series conducted via Zoom. The first session is free for all participants, subsequent lectures are available for $15 each ($12 for current students).
LOST SOULS, A fictional journey through 50 years of PINK FLOYD
Meet Matt, a young, inquisitive teenager who in 1967 accidentally bumps into Roger Waters and Syd Barrett on a ferry from Ibiza to Formentera. What follows is a lifelong fascination for all things Pink Floyd and, eventually, acceptance into the band’s inner circle.
Travelling the globe, Matt joins Pink Floyd on tour, in the studio and even on the golf course, building a fragile bond of trust and friendship with the band along the way. Matt dreams of becoming an established music journalist but as he grows older and wiser, ends up writing a book. Or that’s his intention….
By introducing an imaginary protagonist in a fictional coming-of-age story based on real life events, LOST SOULS gives the reader a more personal, intimate and unique perspective on one of the most successful bands in music history.
Edwin Ammerlaan began as a music journalist for OOR magazine in 1986. Since then he has interviewed more than 300 musicians and bands and his articles have appeared in various Dutch music publications including Revolver, Lust For Life, Aloha and iO Pages. He is also the author of ‘SAGA, The Biography’ (2010). Edwin Ammerlaan lives in Amsterdam, The Netherlands.
Background information LOST SOULS:
” A few years ago, I was asked by a local publisher if I would be interested in writing a biography about Pink Floyd for Dutch readers. I’ve been a freelance music journalist since 1987 and have written many features about Pink Floyd in that time. I rejected it because I felt that most things about Pink Floyd had already been thoroughly documented. To add a new perspective to the Floyd history would be virtually impossible.
The offer did get me thinking though. I decided to come up with a new concept. A concept, now aiming at an international audience, which would allow me to look at Pink Floyd from a more personal, subjective perspective. I started to write a book on real-life events from the band’s history but also to add some ‘made-up’ stories along the way. I also introduced a fictional main character, Matt, so I could (re)visit events and comment on the band’s history as it unfolded. By placing the events in chronological order and having Matt present at them all, I realised my book was also becoming a kind of coming-of-age story. At this point I started to incorporate some of my own personal experiences of working and growing up in the music industry as well.
Because I now had fictional characters meeting real people, my next challenge was to make sure the dialogue between them were not too far-fetched. For that I needed to come up with quotes that were as close to the ‘imaginary truth’ as possible. Enter many months of research. I collected hundreds of quotes from multiple sources including interviews – some of which I’d done myself –, books, dvd’s, and YouTube-clips. When it came to writing the book, I transformed many of the quotes I’d amassed into conversational exchanges that fitted the time, place and people involved. Other quotes I completely rewrote and, inevitably, some of the dialogue I just had to make up on the spot.
Even though my book is largely based on real events and interviews, the main storyline is a work of fiction: a novel written from a journalist’s perspective with information accumulated through some serious research but with which I have taken huge liberties as I made it fictional (which is made clear through the book’s sub-title, an explicit disclaimer and in the foreword). But above of all, it is a book written with love and passion for the music of Pink Floyd and with the deepest respect and admiration for the band members, their crew, families, and all the people involved.” – Edwin Ammerlaan
Echo Release Limited Edition Poster Series Of Pink Floyd
First Poster In Series By WOLFSKULLJACK
Available from February 19
ECHO is proud to announce the Pink Floyd 2021 Poster Series. This officially licensed limited-edition series will showcase some of today’s biggest and brightest visual artists, creating works inspired by Pink Floyd.
First in the series is a print by artist WolfSkullJack commemorating Pink Floyd’s performance from October 13, 1973 in Vienna, Austria. This print will be available starting Friday, February 19 starting at 2 PM EST / 11 AM PST.
“My father introduced me to Pink Floyd when I was but a wee pup and Dark Side of the moon was a regular on the record player. I am eternally thankful to have inherited his excellent music taste!
When working for musicians I love to put on their music as I sketch and ink in an attempt to capture the bands essence and I think that shines through here. The art is heavily influenced by Time and Breathe, two of my favorites, with reference to the lyrics, ‘Run, rabbit run’ in Breathe.
Wolves in my work are often ethereal/celestial creatures who represent time and space. The wolf is representative as part of the natural life cycle of the rabbit in an all natural way rather than something sinister.” – WolfSkullJack
This 12-color screen print measures 18”x24” and will be available in these limited edition variations:
Pink Floyd October 13, 1973 Vienna, Austria (Gallery Edition) – 175 pcs / $55
Pink Floyd October 13, 1973 Vienna, Austria (Lava Foil Variant) – 75 pcs / $80
Pink Floyd October 13, 1973 Vienna, Austria (Rainbow Variant) – 75 pcs / $80
In the future, look out for Pink Floyd prints in the series from artists Jermaine Rogers, Jeff Wood, David Welker, Frank Kozik, WolfSkullJack and other artists TBA.
Polly Samson has shared a new photo of David Gilmour in his home studio, with headphones on and guitar in hand. Here’s hoping he’s recording some new music!
Roger Waters has guested on the latest episode of the Prine Time Podcast, discussing recording during the lockdown, his friendship with John Prine and recent political events.
Prine Time Podcast is hosted by Billy Prine (brother to the late John Prine) and roots music producer Michael Dinallo.
Unfortunately, due the ongoing COVID-19 pandemic, the 2021 Nick Mason’s Saucerful of Secrets UK Tour has been pushed back to April/May 2022. Any tickets already purchased in 2020 remain valid, so don’t worry if you got in early. See below for updated dates and venues.
Chester Kamen, Former lead guitarist with Roger Waters band and last seen playing With David Gilmour on the 2016 Rattle That Lock tour has been busy writing and working on his forthcoming album,
January see’s the release of “I’d Love To Turn You” which is featured on the “Take This “ album which is currently in progress.
As Chester says briefly “Its a guitar driven thing featuring, once again, Felix Howard on bass and backing vocals and Chuck Sabo on drums. I very much hope you like it.“
Regular users of this site would be aware that since 1998 we have been completely independent.
That is, we do not receive any funding from outside sources (Unlike some other sites).
The truth of the matter is that the site is run by fans for the fans, For our entire existence we have funded site fees from our own pockets, with the occasional appeal to fans to help contribute.
Now we find ourselves in somewhat of a dilemma ….
In recent times the site has suffered a series of outages, so much so that we have decided to move the site on to a new server.
This is going to happen in late March 2021 but it’s going to come at a cost.
The cost of moving and having the site hosted for thenext 3 yearsis going to be about $640 (AUS)/£356 GBP / $488 (USA)
Because of the circumstances, we have decided to launch an appeal to try to raise the required funds. We will be keeping a public running tally of donations received in the interest of transparency.
This is where you come in.
If you can possibly afford a small donation (or a large one!) then please click below to donate via our official account on our chosen Go Fund Me platform.
From all the team at AFG we thank you in anticipation!
THANK YOU!!!!! It only took a few days to reach our target. We raised $1055 (AUS) / £590 / $815 (USA) from PayPal and the Go Fund Me platform (After fees.) This is more than enough to keep the site going for the next 3 years. Again, thanks to all who contributed.
Regular users of this site would be aware that since 1998 we have been completely independent.
Professor Gilad Cohen further explores 
Echo Release Limited Edition Poster Series Of Pink Floyd
Roger Waters has guested on the latest episode of the 
