The variety of Dark Side prisms that have been posted on the official Pink Floyd sites (Facebook, Twitter, etc.) have proved most interesting and it is clear that many fans have greatly enjoyed them. Ranging from much loved, and expected variants, to Miro and Dali influenced abstracts, and even the standard cover reproduced using liquorice and assorted beans and buttons, a huge amount of imagination and hard work from the team at StormStudios has now come to an end, and we can now find out what they were all for.

If you pay a visit to PinkFloyd.com, you can now see the completed grid with all the images now in place, but more than that, the overall image - a celebration of the album and its iconic cover - can be downloaded, free of charge, in three different sizes, so you can truly appreciate the detail and vivid colours.

Just as a reminder to our story the other day, tomorrow (the official UK release date of the album) sees Pink Floyd and EMI Music marking the 40th anniversary, as fans around the globe unite to turn a specially designed moon dark. Centred around a global playback of the album on PinkFloyd.com, each memory, thought and photo tweeted as fans rediscover the album will count towards the creation of a dark side of the moon.

Starting at 00:01am GMT on Sunday, for the entire day, fans all over the world will be able to share thoughts and comments via Twitter using #DarkSide40 and witness the impact as the volume of messages combine to turn the moon dark...

Each year, 25 culturally or historically significant musical recordings are added to the US Library of Congress Registry, established in 2000. This is a federally funded archive that seeks to preserve songs and sounds that are "culturally, historically, or aesthetically important, and/or inform or reflect life in the United States". This year, Pink Floyd's The Dark Side of the Moon received the highest number of public nominations, so the album is to seal its place in history.

The library said the album, celebrating its 40th anniversary this weekend, benefitted from "brilliant, innovative production in service of the music. The album is notable for the close vocal harmonies of Richard Wright and David Gilmour and for double tracking, both of voices and guitars. More unusual effects include the flanged choir in Time, the precisely placed delays in Us and Them, and a tape loop at the beginning of Money that was so long a microphone stand had to be used to hold it up. Band member Roger Waters interviewed studio staff and others responding to a series of flashcard questions, then used snippets of their answers throughout the album. Befitting its title, the themes of the concept album are dark – madness, violence, greed and the passage of time, culminating in death – as Waters put it, 'those fundamental issues of whether the human race is capable of being humane.'"

Other artists to make it into this year's selection include The Ramones with their eponymous album from 1976, Cheap Thrills by Big Brother and the Holding Company, and the Sounds of Silence album by Simon and Garfunkel. See the full list - and selections made in other years - here.

Today marks the 30th anniversary of the UK release of Pink Floyd's album, The Final Cut. It was reissued in 2004 as a remaster, and it also formed part of 2011's Why Pink Floyd catalogue reissue. The album, of course, was the last to feature Roger Waters, and came at a time when the band weren't enjoying the best of relations with each other. However, the album is a favourite for many, and is a forerunner to some of Roger's later solo work.

To help mark the anniversary, Brain Damage founder Glenn Povey has come up with twenty rather interesting things about The Final Cut for Classic Rock Magazine, and they have just posted the list, complete with embedded video clips to illustrate some of the facts that Glenn has selected for Floyd-fan and non-Floyd-fan alike. Read the article in full here...

US publication Spinner have just interviewed Bob Ezrin, musician and producer for the Floyd for a number of years from The Wall onwards. For the first time, Ezrin has revealed what might have been, with regard to 1987's A Momentary Lapse of Reason album.

At the time Ezrin was working with the band on the album A Momentary Lapse of Reason, he was heavily into rap - a new musical form which was emerging at the time. "I became fascinated with [rap] in the Afrika Bambaataa days," Ezrin tells Spinner. "I'm an early adopter. I actually brought some in when we were doing A Momentary Lapse of Reason. I brought some in to David Gilmour's thing going, 'Boy, I think this stuff with a rock beat would be awesome.'"

Spinner notes that the suggestion was not overly popular with the guitarist. "He said, 'Oh my God, that would be terrible,'" Ezrin recalls with a laugh. "He couldn't believe it. He hated the idea."

For the full interview, visit Spinner.com.