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Pink Floyd 1987WELCOME TO THE 25th YEAR OF BRAIN DAMAGE, YOUR PINK FLOYD, DAVID GILMOUR, NICK MASON, AND ROGER WATERS NEWS RESOURCE!

David Gilmour's superb new album, Luck and Strange, has now been released in a variety of formats, and a selection of coloured vinyls. A limited number of concert dates were announced, and these have thrilled crowds in Brighton and London, England, Rome, Italy, and Los Angeles and New York, USA - see all the confirmed David Gilmour concert dates here. We're also eager for your views on each of the shows, and really welcome comments, reviews, pictures or anything else you'd be willing to share with the Floyd community - [email protected] is the address to use - thank you!

Sadly, the European dates for the Nick Mason's Saucerful Of Secrets 2024 Set The Controls tour have come to their end. The gigs revealed a band in even better form than the 2022/23 shows which managed to exceed everyone's hopes and expectations! Our sincerest hopes are that they continue. Don't forget that there's the live recording from London's Roundhouse on Blu-ray, DVD/2CD, and 2LP which is really excellent.

Finally, Roger Waters read three extracts from his memoirs in October 2023 at the London Palladium, so it might not be too long before that is published...he's also working on his new album based around The Bar - we'll let you know as soon as we get all the info!

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The Wall tour animator gives background to the stunning graphics Print E-mail
Written by Matt   
Thursday, 14 October 2010

Roger Waters - The Wall tour - Empty Spaces animationMusic promo director Ben Ib has reimagined Gerald Scarfe's animations for Roger Waters' epic concert tour of The Wall, which takes in 110 shows both sides of the Atlantic. On the DigitalArtsOnline website, he talks about how he created the scenes for use at a massive scale, using CGI to expand and enhance Scarfe's well-known images.

Ib's work can be seen on Empty Spaces, Run Like Hell and Goodbye Blue Sky. Ib said: "The Wall album is unique in that it's visual identity goes hand in hand with it's musical identity. This was always going to be the starting point. But it was also important to give the work a real punch, something different, something that the audience hadn't seen before."

It's a fascinating look at quite a unique design project, which can be read through this link. It includes some of the alternate, rejected ideas, along with some of the finished frames of animation. By the sound of it, Ib had a great time working on The Wall: "The screen really is huge. This is the real difference with working on a live show as opposed to a music video. You can see first hand evidence of the visuals really exciting the audience, really adding to the show. Often too much screen time can water down a performance, but, seeing the show, in this case the fans are genuinely hungry for it, and to have the privilege of feeding their hunger is a great position to be in."

 
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