Much more time ...

I kinda like it ... as for me this is a sort of Gaspar Noe meets Surrealism meets dark ambient ... and since we know this story, at least we can not exactly associate it with the  darker themes that GN tends to work with ... but the dark ambient theme and darkness in the whole thing, mnakes it something completely different from the original.

Creatively, I think both you and I would say something like ... didn't know RW was into ambient stuff at all ... or gee ... goodness, he has never shown a total artistic side other than believing his writing of lyrics was some sort of poetry and story telling. This piece, right now, not having (and not needing!!!) lyrics, makes it much more interesting, although I wonder if PF fans won't like the dark side of it ... which, in a funny sort of way might be how RW looks at all that stuff nowadays ... as not only this or that, but really off the track, specially as we can see his new interpretations which are very different than the original ... ~~~ !!!

Makes you wonder what he really thinks of his (and the band's) history ... if looking at it is not all wine and roses, but some form of a dark feeling of not looking at it as a good time and place ... at least, both Nick and Dave seem to maintain, and keep a positive spin on a lot of the early works, something that RW does not seem to share.

It is sad ... I, as a writer, look at some of my early stuff, and feel it might be somewhat naive and incomplete, but I do not dislike the feelings which created it, which is different ... and I tend to not look at it as "bad" or just "young" or some sort of adult oriented thought in regards to our own learning from our youthful days.

I like this, but in many ways ... knowing RW's feelings about that history as so dark and this and that, is very sad ... and for me, it brings down an incredible legacy of creativity ... it should be celebrated, not quite dismantled. 

This new interpretation, for me, kinda reminds me of the days I did a few mushrooms, and some purply and shunshiny things ... but mine were never "dark" or "scary" ... they were always colorful, full of music, and enjoyment. 

Just strange to see this with a 180 turn on its idea, as far as I see it. Interesting idea and concept, but I doubt that the feeling is not "real" in RW's mind, in my book his dark side is going to be scarier than Syd's ... 

PS: The Salvador Dali thing with the melting clocks, is a bit scary in the context of this whole thing ... like it is all going going going ... gone ... and it has become somewhat meaningless, which the video of this thing is unclear about ... it just remains in its dark space, with time all gone! ... and dead! I can't help feeling that is how RW feels about it!

Hi,

This is a very tough area for me to say something. Some thoughts might seem confusing.

Coming from what would be considered a very academic background and a house with a very large library of literature, I tend to appreciate a lot of the work that makes a connection to the history of the arts. This video does that, and in many ways, makes the original be thought of as more valuable than we have given it credit for, instead of just a rock piece. 

I have always looked at the early years of "progressive rock" as something more than just a rock piece.

Artistically, DSOTM was also very important, because it added film, and "theater" to the show, which was not exactly rare in Europe, as many bands had done a lot of the Weill/Brecht thing or various other ideas. In SF, or we can say in the USA, it was hidden in the lights ... a very idealistic show! 

But the "visuals" were never "beyond" what we would consider "local theater" in the sense that it was nothing major or important, and kinda of just like our children in the play.

Seeing a "video" and "idea" taken beyond its idea and strength, is a nice thing to see, although I'm not sure that many of us will like it ... I didn't care for a couple of other videos this particular group of folks has done, and some are not ... as well defined and meaning, as this one on PF was. For example, (I want to see them again!) the ones on TD and JMJ are off the mark completely as far as I can tell. But these have always been special for me, as I have known and understood a visual perception of their work, and in my book it was never invisible. A very clear story, in notes ... so to speak! TD, for example, has always been very theatrical in their work, until Edgar Froese passed away, even going so far as to attempt to illustrate many works.