Deluxe two CD edition includes a bonus CD that contains the 3D60 version, which, as the name suggests, allows you to listen in glorious three-dimensional sound and comes enhanced with a weblink giving access to Push Entertainment technology, to buy a 15 min Ambient mix from the Metallic Spheres microsite. 2010 release, a collaboration between David Gilmour, the voice and guitar of Pink Floyd, and The Orb, the renowned British Ambient/House collective. Together, they created a two-part sonic mixture in a range of styles combining David's unique guitars and The Orb's crafted sound manipulations.
A good solo album (and only topped by Roger’s Amused To Death) as I am usually very wary of solo albums, this ranks among the better one ever coming out of the Floyd stable. Released a few months before Rick Wright’s Wet Dream, both album probably suffering from Floyd’s Animals’ proximity, these albums can be seen nowadays a bit differently than back then: Obviously Roger Water’s concepts about Floyd’s musical directions was causing a pile of songs that the other two writers couldn’t use on the group’s albums, so they had to do something in order to get them published. Both chose solo albums.
Short unrelated songs that are generally spreading wider than the usual Floyd spectrum, this self-titled debut is an honest one, where it’s obvious Gilmour is not keeping his better material for his solo ventures (some issue often popping up in other groups), as there are no tracks of the calibre of Dogs or Comfortably Numb. Gilmour’s voice used alone, without Wright’s to tone it down, might surprise a bit, but you recognize the man’s vocal chords immediately. Mihalis and Raise My Rent are among the better numbers here. I don't see much relation to Floyd music of that era or others outside of the guitar playing and the singing. That is unless one forgets about Obscured By Clouds.
David Gilmour’s solo career hasn’t exactly been creatively restless; this is but the third album by the Pink Floyd guitarist, and first in 18 years. But that seemingly lackadaisical career ethos hasn’t prevented Gilmour from producing some of his finest work here, an album whose soaring, lyrical guitar lines will be familiar to Floyd fans, yet one also blessed by often surprising nuances and delicate musical textures. Gilmour’s Division Bell collaborator Polly Samson is credited with most of the writing, helping conjure a moody, texturally rich "island" that’s as much musical as it is personally and lyrically metaphorical. "Castellorizon," the impressionistic opening instrumental collage, presages much of what’s to come in subtle ways, with Gilmour’s emotionally-charged guitar lines climbing into realms usually staked out by contemporary Jeff Beck.