A new animated lyric video for “Octopus,” a track from Syd Barrett’s acclaimed solo album The Madcap Laughs, is out now on the official Syd Barrett YouTube channel. Created by talented animator Artist on the Border, this video being the most detailed yet, offering a visual deep dive into the 1974 EMI double-album reissue, simply titled Syd Barrett. The visuals highlight the iconic cover art—Syd sitting in a lotus pose, surrounded by a plum, an orange, and a box of matches—originally designed by his friend and longtime Pink Floyd collaborator, Storm Thorgerson. You’ll also spot rare press photos and roughly cut news clippings of Syd from the inner gatefold sleeve—both with and without Pink Floyd—which contribute to the style of the brilliant in-camera practical effects. Truly a feast for the senses!

Additionally, you can enter a competition by sharing the video and commenting with a line from “Octopus” for a chance to win a specially designed poster by Artist on the Border, along with some screen-used ephemera from the video. The competition closes at noon on Monday, April 21!

One of the secrets in the Saucers’ repertoire is the highly acclaimed four-man Floyd epic “Echoes,” performed in its entirety since 2022’s appropriately named The Echoes Tour. This particular version was recorded on August 1st, 2024 at the Centennial Hall in Frankfurt, Germany and recently released in limited quantities (4,000 to be exact) as part of Record Store Day. Adding to the uniqueness of this release—if you weren’t already aware—it was half-speed mastered at Abbey Road and plays inside-out for ultimate sound quality, with the B-side featuring an exclusive etched design.

Now, let’s dive into the review, shall we?

We begin just like the original, with the iconic “ping” provided by Dom Beken on electric piano—a perfect recreation of the Leslie sound, capturing every essence of Rick Wright’s style. Meanwhile, Gary Kemp employs an ebow to mimic the original slide-violin sound, setting the stage for Lee Harris, who joins in around the two-minute mark with unmistakably Gilmour-esque licks on his Stratocaster.

Following the atmospheric introduction, the focus transitions to Nick’s powerful drum hits, marking the beginning of the verses.

Waters’ penned lyrics are sung by Gary Kemp and Guy Pratt, who together carry much of the song’s emotional depth. They remain true to David and Rick’s vocal harmonies while infusing their own style, and they sound exceptional together. Meanwhile, Lee provides the underlying chords that support the entire arrangement.

The mix is wonderful—perfectly balanced across the audio spectrum. There’s no overpowering loudness, and each instrument resonates with richness and warmth, while the bass remains clear and defined. It feels as though Steven Wilson designed this mix with a vivid vision of the band playing live. Close your eyes, and you get the feeling they’re right in front of you. It’s an exceptional auditory experience.

Nick’s drumming here is some of his finest playing to date. He sounds like a force to be reckoned with. He drives the song forward with impeccable syncopation, striking the ideal balance—avoiding overplaying while delivering tasteful fills exactly when the music demands it—all while adding his signature funky touch. In this rendition, he undoubtedly shines as the highlight.

Around six minutes in, Gary Kemp delivers the first solo, and it sounds massive on this recording—you can feel his remarkable presence. There’s a particular lick in this version that we really enjoy, which Guy Pratt doubles on bass. The band plays off each other beautifully and as they transition into the familiar run-up riff, this is where the energy really kicks in! By 7:24, the “Funky jam” kicks in, and Dom and Gary engage in a lively exchange, with Gary delivering those big solos while Dom adds his distinctive style on the keys (we particularly love how he just goes nuts on the organ). Nick and Guy lock into a tight, funky-yet-fluid rhythm, with Guy’s P-bass cutting through the mix, while Lee nails the rhythm part, effortlessly riffing along. The funky section is perfectly timed, never overstaying its welcome—though I could have easily listened to another 20 minutes.

We then fade into the “Seagull bit.” For those curious how it’s done, [click here] to watch Lee describe how he gets that sound. If you’ve seen them live, you might recall Lee raising his guitar above his head as a theatrical gesture, signaling to the audience that it’s him doing it.

The audio design is the masterful work of Dom Beken, who not only handles the keys but makes all the Floydian sound FX that open the show and appear throughout. One of the standout elements of this rendition is the thunderstrike sound effect that occurs around 12:50, marking the transition into the “Sunrise” section. This subtle addition is remarkably effective, as it perfectly complements the gradual emergence of the “chugging” guitars, which are skillfully panned left and right with Lee and Gary. As the piece progresses to 15:50, it establishes a solid foundation for Nick’s signature cymbal crashes and tom fills during the buildup. While Dom is adding a layer of synth, transcending the listener into another dimension.

At 17:12, the aptly named “Hero” guitar section features Lee and Gary doubling the arpeggio riff, while Guy lays down deep, resonant bass using a Moog Taurus pedal (he’s gone full prog!), while simultaneously playing the fuzz line on a P-bass, with Nick’s distinct drumming tying it all together perfectly.  

At 18:12, we come to the final verse, and then the outro, as the band begins to wind down. Lee showcases his emotive phrasing, bookending the piece with some bluesy guitar—and he signs off with a really nice pinched harmonic (just after 22:00). The track closes with Dom back at the electric piano until the choral segment—known as the “Shepard tone”—along with one final “ping,” brings it to its conclusion. Cue thunderous applause from the audience.

Closing thoughts: This is a must-have version. It offers a contemporary take in a live setting while capturing the spirit of Pink Floyd’s early era—the very core of the Saucers project. Echoes serves as a vital link between the band’s early works and The Dark Side Of The Moon. This rendition is the perfect companion piece to the original, making it a no-brainer why it’s now the band’s second official release (or third, if you count the first RSD release containing See Emily Play / Vegetable Man from 2020).

If you weren’t able to grab the 12” vinyl on Record Store Day, the track will also be available for streaming in Dolby Atmos on Spotify and Apple Music in the near future. While we wish we could share a vinyl copy with everyone, you can enter to win one! Simply send an email to tony@pinkfloydz.com with the subject line as the title of this news story, and you’ll be entered into a drawing for a chance to win one sealed 12” RSD vinyl. Please note: this offer is limited to U.S. residents only.

Last September, you may recall we shared an impressive 360-degree animation created by Equinox, a passionate Pink Floyd enthusiast and a regular visitor to our site. Known as Andy in real life, he not only crafts these stunning animations but also showcases his musical talents as a solo performer, singing and playing guitar in his one-man show. Equinox is set to deliver a two-night performance at the Winchester Planetarium in the UK on May 2-3, 2025, featuring two hours of Pink Floyd classics. This unique and immersive experience promises to take the audience on a captivating journey through the music of one of history’s most legendary bands, complemented by stunning visuals projected on a 360-degree screen. The show has garnered acclaim from both critics and fans for its authenticity, passion, and creativity. Here’s a glimpse of what attendees can expect from this unique event:

Tickets are on sale now at www.ticketsource.co.uk 
For more information and to follow Andy/Equinox go to www.floyd360.com

We trust that everyone had a wonderful week, it’s clear that the Floyd world has been exceptionally busy, so, on with the news!.. Earlier this week Polly Samson posted photos of what looked to be David Gilmour back in the studio jamming/working out new material with Charlie Andrew, producer on last years “Luck and Strange.” David has said he was looking to get back to making more music as soon as possible, following the release of Luck and Strange and the tour. The session photos feature several familiar band members, including Adam Betts on drums, Guy Pratt on bass, and Rob Gentry on keyboards.

A few days later, she posted an Instagram story showing the band jamming, which some astute viewers managed to capture before it disappeared after the usual 24-hour period, and it’s quite a rocker:

In other news, anticipation for Pink Floyd at Pompeii – MCMLXXII is increasing as the film’s limited theatrical release approaches, set to premiere on April 17 in London. Following the premiere, there will be a special Q&A session featuring Nick Mason and Steven Wilson. Recently, Nick Mason shared insights in an interview with Rolling Stone, discussing Pompeii and Pink Floyd’s enduring legacy, with Nick’s humor on full display. We’ll post a few excerpts here, but encourage you to read the full interview by clicking this link.

The footage of “One of These Days” mostly features you playing drums.
“I’ve heard a story that they lost some of the rolls of tape, particularly for that song, and the only take that remained was the camera that was on me, so I got this free ride for more or less the entire song. But that may not be true; it may just be that Adrian just thought I was so great.”

What do you think when you see yourself in the film with your mustache and your rainbow butterfly shirt in the Paris scenes?
“Oh, it’s slightly embarrassing, but at least I kept my T-shirt on [laughs]. It’s one of those things where you have a look and then you grow older and begin to look like the tour accountant.”

Whilst on the topic of Pompeii, over the last several weeks Pink Floyd’s YouTube page have been releasing 1-2 minute teasers of the upcoming restored film, even posting comparisons between the 2003 DVD and this new 2025 restoration, further revealing how gorgeous the film now looks, with it’s vibrant detail and warm color palette. This weeks video features Nick at the kit for One Of These Days:

In conclusion, regarding Nick..Lee Harris from Nick Mason’s Saucerful Of Secrets has shared a rehearsal clip featuring the band getting to know Echoes together, from 2021. This comes as the Saucers’ rendition of Echoes (which was recorded on the last show of the 2024 tour in Frankfurt, Germany) is set to be released for Record Store Day and streaming in Dolby Atmos on April 12, which is just a few weeks away!

If you’re part of the Pink Floyd fan community, or just a casual fan, you’re probably aware of the scarcity of live footage of the band’s “golden-era” from 1973 to 1980. The Pink Floyd Research Group, a nonprofit organization dedicated to discovering and sharing lost visual media of the band, has, over the last several years, made significant strides in this endeavor. In the past month, they have released a wealth of material on their YouTube channel. Today, they surprised fans with the unveiling of TWO new 8mm films, scanned in 4K, showcasing Pink Floyd’s first performance following the release of The Dark Side Of The Moon at the Dane County Coliseum in Madison, Wisconsin, March 4th, 1973…52 years ago!

Please note that the constraints of 8mm film mean that only brief excerpts of the songs performed that evening are showcased. Additionally, since no audio recording of that night exists, the following content has been sourced from other existing audience recordings from the same tour. You can watch both films below: