Roger Waters issues statement to confirm he does not appear on new Pink Floyd album

Waters left the band in 1985 and did not contribute to 'The Endless River' Read more at

Waters left the band in 1985 and did not contribute to ‘The Endless River’

Waters, who left the band in 1985, issued the message to fans via Facebook after receiving inquiries as to his role in the band’s new album ‘Endless River’. Explaining that he has nothing to do with the album and that he is no longer a member of the band, Waters signed off the message by telling people to “get a grip.”

The full message from Waters’ Facebook is as follows: “Some people have been asking Laurie, my wife, about a new album I have coming out in November. Errhh? I don’t have an album coming out, they are probably confused. David Gilmour and Nick Mason have an album coming out. It’s called ‘Endless River’. David and Nick constitute the group Pink Floyd. I on the other hand, am not part of Pink Floyd. I left Pink Floyd in 1985, that’s 29 years ago. I had nothing to do with either of the Pink Floyd studio albums, ‘Momentary Lapse Of Reason’ and ‘The Division Bell’, nor the Pink Floyd tours of 1987 and 1994, and I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip.”

Speaking last year, drummer Nick Mason revealed that he would be interested in a full band reunion with Waters, but was not certain it will ever materialise.

‘The Endless River’ will include music recorded with multi-instrumentalist Richard Wright, who died in 2008 aged 65.

Roger Waters’ ‘The Wall’ Tour Documentary Premieres in Toronto



Special Presentations | United Kingdom | Roger Waters, Sean Evans | 133 minutes
Sun, Sept 14 at 8:30pm –  Scotiabank Theatre
Festival Box Office NOW OPEN Sept4-14 7am-7pm
Pink Floyd bassist and vocalist Roger Waters has premiered his tour documentary Roger Waters: The Wall at the Toronto Film Festival.The documentary was shot by Waters himself alongside director Sean Evans and shows footage from between 2010 and 2013, when the singer was touring Pink Floyd’s seminal 1980 double album across the world.

A synopsis by Toronto International Film Festival director Piers Handler says the following about the documentary: “Ever since The Wall was released, it has become one of the classic rock albums of all time. Its popularity continues and its message is still timely. Deeply affected by his father’s and grandfather’s deaths in the two world wars, Roger Waters has crafted a plea to tear down the walls that lead to misunderstandings and wars. This powerful performance film allows Roger to explore what The Wall still means to him as he performs it in front of tens of thousands of fans, and visits more personal places that resonate with meaning on the 100th anniversary of the outbreak of the First World War.”

The film itself runs for 133 minutes and will be shown twice more in Toronto, however a worldwide release date is yet to be confirmed. The ‘sound’ credit on the film, meanwhile, is attributed to regular Radiohead collaborator Nigel Godrich.As the Toronto Sun reports, Waters also took part in a Q&A session after the screening, commenting on various aspects of ‘The Wall’s continued endurance. Addressing this issue, Waters stated, “I think people are sick and tired of being told that the most important thing in their life is commerce and the new this and the new that. I think people are probably ready to go now, ‘Well, all of that rhetoric lead us to lob bombs over the top of the wall, that divides society ecologically, economically, philosophically and politically, from all our fellow human beings. And we no longer want to be told by our political leaders that they are scum and that we are great. ‘So that I believe that it may be we’re no longer interested in the ‘us and them’ form of political philosophy that we’ve been fed on for the last couple of 1,000 years and that we may be ready to move into a new place.”Roger Waters also celebrated his 71st birthday at the event.

Roger Waters’ (Pink Floyd) Song for Gaza

“Over the new year 2009-2010, an international group of 1500 men and women from 42 nations went to Egypt to join a Freedom March to Gaza. They did this to protest the current blockade of Gaza. To protest the fact that the people of Gaza live in a virtual prison. To protest the fact that a year after the terror attack by Israeli armed forces destroyed most of their homes, hospitals, schools, and other public buildings, they have no possibility to rebuild because their borders are closed. The would be Freedom Marchers wanted to peacefully draw attention to the predicament of the Palestinian population of Gaza. The Egyptian government, (funded to the tune of $2.1 billion a year, by us, the US tax payers), would not allow the marchers to approach Gaza. How lame is that? And how predictable! I live in the USA and during this time Dec 25th 2009-Jan3rd 2010 I saw no reference to Gaza or the Freedom March or the multi national protesters gathered there. Anyway I was moved, in the circumstances, to record a new version of” We shall overcome”.It seems appropriate.
Roger Waters

Roger Waters UN Address – Nov 29, 2012

Roger Waters, speaking on behalf of the Russell Tribunal, delivers a very nicely put speech in front of delegates on International Day of Solidarity with the Palestinian People. This day also marks an important development in the Palestinians’ bid to statehood as they are now recognized as a non-member observer state. Hopefully the world sees both sides of the story and that both conflicting parties go into negotiations towards a two-state peaceful solution and put an end this long and dragged out conflict. Enough is enough!

Roger Waters calls on fellow musicians to boycott Israel

Roger Waters - Frontman of Pink Floyd

British musician Roger Waters, one of the founders of Pink Floyd


British rocker Roger Waters published an open letter calling on fellow musicians to join a boycott of Israel.

Roger Waters calls on fellow musicians to boycott Israel. In an open letter, former Pink Floyd front man urges his ‘brothers and sisters in the family of Rock and Roll’ to reject ‘apartheid’ by pledging not to perform in Israel.

The letter, which condemns Israel for apartheid and ethnic cleansing,  according to the Electronic Intifada, which first reported on its existence.

“I write to you now, my brothers and sisters in the family of Rock and Roll, to ask you to join with me, and thousands of other artists around the world, to declare a cultural boycott on Israel,” Waters wrote in the letter dated Aug. 18. The letter was previously drafted in July.

Former Pink Floyd star Roger Waters attempted to deflect accusations of anti-Semitism and defend his decision to use a pig-shaped balloon emblazoned with the Star of David, among other symbols, during a concert in Belgium.

Waters, who last year voiced support for the boycott of Israeli goods, came under fire for the use of the inflatable pig, which was destroyed by the audience at the end of the show. Apart from anti-Semitism claims, some accused him of being a Jew hater and Nazi supporter.

In a response posted on Facebook, Waters denied the allegations and said the Star of David represents Israel and its policies, and not Judaism.

“[I]n a functioning theocracy it is almost inevitable that the symbol of the religion becomes confused with the symbol of the state, in this case the State of Israel, a state that operates apartheid both within its own borders and also in the territories it has occupied and colonized since 1967,” wrote Waters. “Like it or not, the Star of David represents Israel and its policies.”

The statement said Waters is regularly criticized by pro-Israel groups for his support of the Boycott, Divestment and Sanctions movement.

As for the inflatable pig, the musician argued that it represents “the evil of errant government.” Waters said the balloon was used in 193 shows since 2010 and that it was destroyed by the audience at the end of each one.

Waters noted that the show also uses other religious and commercial symbols such as the Crucifix, the Crescent and Star, the Shell Oil logo, the McDonald’s sign and a dollar sign.

The show, Waters concluded, “is many things. It is thoughtful, life affirming, ecumenical, humane, loving, anti-war, anti-colonial, pro universal access to the law, pro liberty, pro collaboration, pro dialogue, pro peace, anti-authoritarian, anti-fascist, anti-apartheid, anti-dogma, international in spirit, musical and satirical. It is not anti-Semitic or pro-Nazi.”

Waters pointed out that the Anti-Defamation League said it does not believe he had anti-Semitic intent, although it did regret the use of the Star of David.

Boycotts of Israel are economic and political cultural campaigns or actions that seek a selective or total cutting of ties with the State of Israel, Israelis or Israeli corporations. Such campaigns are employed by those who oppose Israel’s policies or actions over the course of the Arab-Israeli conflict, in order to not show support for Israel in general, or the Israeli economy or military in particular.

Arab boycotts of Zionist institutions and Jewish businesses began before Israel’s founding as a state. An official boycott was adopted by the Arab League almost immediately after the formation of the state of Israel in 1948. Following the Oslo Peace Accords, the Cooperation Council for the Arab States of the Gulf (GCC) states ended their participation in the boycott, and stated that total elimination of the boycott is a necessary step for peace and economic development in the region. In present days, the Arab boycott is rarely applied, and has minimal effect on the Israeli economy.

Similar boycotts have been proposed outside the Arab world and the Muslim world. These boycotts comprise economic measures such as divestment; a consumer boycotts of Israeli products or businesses that operate in Israel; a proposed academic boycott of Israeli universities and scholars; and a proposed boycott of Israeli cultural institutions or Israeli sport venues. Some advocates of the Boycott, Divestment and Sanctions (BDS) campaign use the 1980s movement against South African apartheid as a model.

According to a ruling by the French Supreme Court, publicly calling for a boycott of Israeli products constitutes discrimination and as such is illegal under French law.  However, France is boycotting Russia for a criminal act that didn’t commit.  The Malaysian MH17 commercial jet was not downed by Russia or the Anti-Neo-Nazi Kiev Junta rebels installed by the United States,  but by two Ukrainian military war jets that machine-gunned the pilot of the MH17 jet.   The latest report from the intelligence community was headlined on August 3rd by Robert Parry, “Flight 17 Shoot-Down Scenario Shifts,” and he revealed there that, “Contrary to the Obama administration’s public claims blaming eastern Ukrainian rebels and Russia for the shoot-down of Malaysia Airlines Flight 17, some U.S. intelligence analysts have concluded that the rebels and Russia were likely not at fault and that it appears Ukrainian government forces were to blame, according to a source briefed on these findings. This judgment — at odds with what President Barack Obama and Secretary of State John Kerry have expressed publicly — is based largely on the absence of U.S. government evidence that Russia supplied the rebels with a Buk anti-aircraft missile system that would be needed to hit a civilian jetliner flying at 33,000 feet, said the source, who spoke on condition of anonymity.”

In 2010, Noam Chomsky was interviewed regarding the boycott movement against Israel. He said that while he supported correctly targeted boycott calls, he called inaccurately targeted boycott calls hypocritical. According to Chomsky, boycotting Israeli settlements or arms sales made sense but calling for a boycott of anything Israeli, or demanding for the Right of Return, would be hypocritical and play into the hands of hardliners in the United States and Israel. In July 2014, Noam Chomsky warns that the boycott, divestment, and sanctions campaign could end up harming the Palestinian cause since the demand for a “right of return” for Palestinian refugees has failed to muster significant international support. He also said “if we boycott Tel Aviv University because Israel violates human rights at home, then why not boycott Harvard because of far greater violations by the United States?”.



“Refuse to finance the occupation – Boycott Israel”— A Swedish poster calls for a boycott of Israel.


Haredi Jew in Jerusalem holding a Palestinian flag with the text, “Boycott Israel”.


Haredi Jew in Jerusalem holding a Palestinian flag with the text, "Boycott Israel". Haredi Jew holding a Palestinian flag with the text "Boycott Israel".

Haredi Jew in Jerusalem holding a Palestinian flag with the text, “Boycott Israel”.
Haredi Jew holding a Palestinian flag with the text “Boycott Israel”.

“Israel has launched a terror bombing against the people of Gaza, with over 300 hundred dead and many hundreds more injured. Not content after three days of devastating slaughter, the Israeli government promises more barbarity to come. The head of the Israeli military says, “This is only the beginning”. The people of Gaza are asking, if this is only the beginning, what will the end look like?

An eye witness describes what happens when the world’s fourth most heavily armed nation rains down such devastation on the civilians of the world’s most densely populated area:

‘People are going through the dead terrified of recognizing a family member among them. The streets are strewn with their bodies, their arms, legs, feet, some with shoes and some without… Hospitals and morgues cannot cope and some of the dead are still lying in the streets with their families gathered around them, kissing their faces, holding on to them. Outside the destroyed buildings old men are kneeling on the floor weeping. Their slim hopes of finding their sons still alive vanished after taking one look at what had become of their office buildings.’ (See )

We need to mobilize in the largest possible numbers for the emergency demonstration. Gordon Brown needs to be reminded that Tony Blair’s support for Israel’s attack on Lebanon in 2006 lead to him being forced from office. The British government must call for the bombing to stop now and for an end to Israel’s illegal blockade of Gaza over the past year, which has inflicted near starvation and lack of essential resources on its people.”

Pink Floyd: Empyrean rock pioneers, with Syd and without. Plus their 10 greatest albums.

Pink Floyd

Pink Floyd


Drummer Nick Mason once described Pink Floyd as “the last of the gifted amateurs”. To a generation that went pop with The Beatles, they’re archetypal muso pioneers who elevated rock into a refined late 20th century art form. Today, they’re more likely regarded as the mature listener’s Radiohead. There’s merit in all three perspectives.

But first impressions stick hard, and for some, Floyd remain the first and last of the great European psychedelic acts – house band at UFO in ’67, and the inspiration for numerous Krautrockers and space-rockers. And for a band that prided itself in anti-star anonymity, the original Floyd’s frontman Syd Barrett was a poster-boy for acid-rock and, later, a textbook freak-scene casualty. Barrett’s traumatic breakdown was both the breaking and the making of Pink Floyd, his subsequent alienated state the inspiration for so much of the band’s later and greatest works.

Barrett’s departure, after just one album, robbed the Floyd of its star and songwriter. With replacement Cambridge pal David Gilmour joining fellow Cantabrigian Roger Waters (bass), Rick Wright (keyboards) and Mason, the group won a reputation as a technologically advanced concert attraction, though it wasn’t until 1971’s Meddle that they hit on the sophisticated, melodic style that became their trademark.

1973′s The Dark Side Of The Moon captured this and the group’s abiding themes perfectly. It launched Pink Floyd into superstar territory, and that’s where they stayed, even seeing off punk rock with 1979’s antagonistic The Wall. By now, Waters was running the show, prompting tensions that saw the Floyd concentrate on solo projects after 1983’s The Final Cut. Regrouping as a trio without Waters for 1987′s The Delicate Sound Of Thunder and 1994’s The Division Bell, the classic quartet reunited for the Live 8 concert in 2005, though Wright’s death in 2008 means there’ll be no full scale repeat. Remember them this way.

Pink Floyd were an English rock band that achieved international acclaim with their progressive and psychedelic music.
  • Members: Roger Waters, David Gilmour, Syd Barrett, Richard Wright, Nick Mason, Bob Klose
  • Lead singers: Roger Waters (1965–1996), More
Origin: Cambridge, United Kingdom, London, United Kingdom,

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An Interview with Roger Waters: The Artist and His Activism for Justice Around the World, Including in Palestine.

Roger Waters of Pink Floyd

Roger Waters of Pink Floyd

On Music, the Political Role of Artists and His Activism for Justice Around the World, Including in Palestine.

Q. When did you make the decision to make the Wall tour (that ended in Paris in September 2013) so political ? And why did you dedicate the final concert to Jean-Charles De Menezes ?

RW.: The first show was October 14th 2010. We started working on content of show with Sean Evans in 2009. I had already decided to make it much broader politically than it had been in 1979/80. It could not be just about this whinny little guy who didn’t like his teachers. It had to be more universal. That’s why ‘fallen loved ones’ came into it (the shows are showing pictures of people that died during wars) trying to universalise the sense of grief and loss that we all feel towards family members killed in conflict. Whatever the wars or the circumstances, they (in the non western world), feel has much lost as we do. Wars become an important symbol because of that separation between ‘us and them,’ which is fundamental to all conflicts. Regarding Jean-Charles, we used to do Brick II with three solos at the end and I decided that three solos was too much, it was boring me. So sitting in a hotel room, one night, I was thinking about what I could do instead of that. Somebody had recently sent me a photograph of Jean-Charles De Menezes to go on the wall. So he was in my mind and I thought that I should sing his story. I wrote that song, taught it to the band, and that’s what we did.

Q: A lot of artist would say that mixing arts and politics is wrong. That their goal is only to entertain. What would you say to those people?

RW: Well it’s funny you should say that because I just finished yesterday the text of a new piece which will be a new album of mine. It’s about a grandfather in Northern Ireland going on a quest with his grandchild to find the answer to the question: “Why are they killing the children?”, because the child is really worried about it. Right at the very end of it, I decided to add something more. In the song, the child tells his grandpa: “Is that it?” and the grandpa replies “No, we cannot leave on that note, give me another note”. A new song starts and the grandpa makes a speech. He says: “We live on a tiny dot in a middle of a lot of fucking nothing. Now, if you’re not interested in any of this, if you’re one of those “Roger I love Pink Floyd but I hate your fucking politics”, if you believe artists should be mute, emasculated, nodding dogs dangling aimlessly over the dashboard of life, you might be well advised to fuck off to the bar now, because, time keeps slipping away.” That’s my answer to your question.

Q: When will album be out?

RW: I’ve got no idea. I’m working away furiously on lots of old projects. I’m going to give a first listen to this to Sean Evans. He’s coming to my house tomorrow to listen to it. I’ve made a demo which is one hour and six minutes long. It’s pretty heavy I confess, but there is also some humor in it, I hope, but it’s extremely radical and it poses very important questions. Look, if I’m the only one doing it, I am entirely content. I mean, I’m not, I wish there were more people writing about politics and our real situation. Even from what could be considered extreme points of view. It’s very important that Goya did what he did, same for Picasso and Guernica and all those anti-war novels that came out during and after the Vietnam war.

Q: You’re talking about yourself being one of the only one, in your position, taking radical political positions. When it comes to Palestine, you are very open about your support for a cultural boycott of Israel. People opposing this tactic say that culture should not be boycotted. What would you answer to that?

RW: I would say that I understand their opinion. Everybody should have one. But I can’t agree with them, I think that they are entirely wrong. The situation in Israel/ Palestine, with the occupation, the ethnic cleansing and the systematic racist apartheid Israeli regime is un acceptable. So for an artist to go and play in a country that occupies other people’s land and oppresses them the way Israel does, is plain wrong. They should say no. I would not have played for the Vichy government in occupied France in the Second World War, I would not have played in Berlin either during this time. Many people did, back in the day. There were many people that pretended that the oppression of the Jews was not going on. From 1933 until 1946. So this is not a new scenario. Except that this time it’s the Palestinian People being murdered. It’s the duty of every thinking human being to ask: “What can I do?”. Anybody who looks at the situation will see that if you choose not to take up arms to fight your oppressor, the non violent route, and the Boycott Divestment and Sanctions (B.D.S) movement, which started in Palestine with 100% support from Palestinian civil society in 2004-2005, a movement that has now been joined by many people around the world, the global civil society, is a legitimate form of resistance to this brutal and oppressive regime. I have nearly finished Max Blumenthal’s book “Goliath: Life and Loathing in greater Israel”. It’s a chilling read. It’s extremely well written in my view. He is a very good journalist and takes great pains to make sure that what he writes is correct. He also gives a voice to the other side. The voice, for instance, of the right wing rabbinate, which is so bizarre and hard to hear that you can hardly believe that it’s real. They believe some very weird stuff you know, they believe that everybody that is not a Jew is only on earth to serve them and they believe that the Indigenous people of the region that they kicked off the land in 1948 and have continued to kick off the land ever since are sub-human. The parallels with what went on in the 30’s in Germany are so crushingly obvious that it doesn’t surprise me that the movement that both you and I are involved in is growing every day. The Russell Tribunal on Palestine was trying to shed light on this when we met, I only took part in two sessions, you took part in many more. It is an extremely obvious and fundamental problem of human rights which every thinking human being should apply himself to.

Q: The scary thing is that the extreme Rabbinate you were talking about with the extreme right wing views about the Palestinians and the non-Jews are having a more and more prominent place in terms of the Israeli society, regime and power structure and that is very scary.

I wanted to follow up on the Cultural Boycott and about the fact that you are one of the only ones who take such a stand. You could, as many others do, I guess enjoy the benefits of your success and lead a quiet, at least politically, non-controversial life. Why do you do it but more importantly why do you think not more people are doing it? Why a lot of artists who often take position against wars, why don’t they touch Palestine?

RW: Well, where I live, in the USA, I think, A: they are frightened and B: I think the propaganda machine that starts in Israeli schools and that continues through all the Netanyahu’s bluster is poured all over the United States, not just Fox but also CNN and in fact in all the mainstream media. It’s like a huge bucket of crap that they are pouring into the mouth of a gullible public in my view, when they say “we are afraid of Iran, it is going to get nuclear weapons…”. It’s a diversionary tactic. The lie that they have told for the last 20 years is “Oh, we want to make peace”, you know and they talk about Clinton and Arafat and Barak being in Camp David and that they came very close to agreeing, and the story that they sold was “Oh Arafat fucked it all up”. Well, no, he did not. This is not the story. The fact of the matter is no Israeli government has been serious about creating a Palestinian state since 1948. They’ve always had the Ben Gurion agenda of kicking all the Arabs out of the country and becoming greater Israel. They tell a lie as part of their propaganda machinery whilst doing the other thing but they have been doing it so obviously in the last 10 years . For instance, even after when Obama went to Cairo and made that speech about Arabs and the Israelis, everybody was like “Oh, this is a step in a new direction at least”. But as soon as he visited Israel, they said. “Oh by the way, we are building another 1200 settlements”. Exactly the same when Kerry went last year saying, “Oh I am going to try to get the sides together and talk peace”. Netanhayu said “Fuck you. We are going to build another 1500 settlements and we a going to build them in E1, this is our plan.” This is so transparent that you’d have to have an IQ above room temperature not to understand what is going on. It is just dopey.

You know I read some piece the other day where it said “apparently only the Secretary State of the United States, believes that these current peace talks are real, no one else in the world does”.

It is a very complicated situation which is why you and I and all the other people in the world who care about their brothers and sisters and not just about the people of our own faith, our own colour, our own race or our own whatever, have to stand in solidarity shoulder to shoulder. This has been a very hard sell particularly where I live in the United States of America. The Jewish lobby is extraordinary powerful here and particularly in the industry that I work in, the music industry and in rock’n roll as they say. I promise you, naming no names, I’ve spoken to people who are terrified that if they stand shoulder to shoulder with me they are going to get fucked. They have said to me “aren’t you worried for your life?” and I go “No, I’m not”. A few years ago, I was touring and 9/11 happened in the middle of the tour and 2 or 3 people in my band who happened to be United States citizens wouldn’t come on the next leg of the tour. I said “ why not? Don’t you like the music anymore?” and they replied “no, we love the music but we are Americans and it’s too dangerous for us to travel abroad, they are trying to kill us” and I thought “Wow!”.

Q: Yes, the brainwashing works!

RW: Obviously it does, that is why I am happy to be doing this interview with you because it is super important that we make as much noise as possible. I’m so glad that this right wing newspaper in Israel, Yedioth Ahronoth, printed my interview with Alon Hadar. At least they printed it. Although they changed the context and made it sound different that what is actually was but at least they printed something. You know, I would expect to be completely suppressed and ignored.

You know that Shuki Weiss( preeminent Israeli promotor) was offering me a hundred thousand people at hundred dollars a ticket a few months ago to come and play in Tel Aviv! “Hang on, that’s 10 million dollars”, how could they offer it to me?! And I thought Shuki are you fucking deaf or just dumb?! I am part of the BDS movement, I’m not going anywhere in Israel, for any money, all I would be doing would be legitimizing the policies of the government.

I have a confession to make to you. I did actually write to Cindy Lauper a couple of weeks ago. I did not make the letter public but I wrote her a letter because I know her a bit, she worked with me on the Wall in Berlin which is why I found it super difficult to understand that she is doing a gig in Tel Aviv on January the 4th. apparently, quite extraordinary, reprehensible in my view, but I don’t know her personal story and people have to make up their own mind about these things. One can’t get to personal about it.

Q: For sure but you can help them, I guess by what you are doing, by writing to them. You can open their eyes because that’s what they need I think.

RW: Yes but if their eyes were going to be opened they would need to either visit the Holy land, visit the West Bank or Gaza or even visit Israel or any single checkpoint anywhere and see what it’s like. All they would need to do is visiting or, read, read a book! Check out the history. Read Max Blumenthal’s book. Then say “Oh I know what I am going to do, I am going to play a gig in Tel Aviv”. That would be a good plan! (sarcastic tone).

Bands That Changed The Sound That Made Them Famous




Before: pop songs for teens
After: Psychedelic rock

The world of pop music is a fickle place in which to work: One day, your audience demands this, but they next day they insist on having that. Artists face a constant struggle between staying true to their musical vision by making content that has an integrity they are proud of, and conforming to the varying wants of the mainstream crowd by sanitizing their style to rake in the big bucks.

Early on, MGMT was lucky. Their first album, 2007’s “Oracular Spectacular,” was full of mega-hits like “Electric Feel,” “Kids” and “Time to Pretend” that were both poppy enough to garner considerable radio attention and truly an unfiltered outpouring of band members Benjamin Goldwasser and Andrew VanWyngarden at their finest.

Ideally, at least in the eyes of the pair’s agents, marketing executives and other corporate players in their circle, they would have pumped out another album in the next year or two in the same vein as their first to billow the fire and keep the eyes of the music world on them.

The problem with this is that the poppy electronic music Goldwasser and VanWyngarden were making just happened to coincide with what the public wanted at the time. By no means were they a product of the cookie cutter pop machine; for a brief minute, they were in the overlap of the Venn diagram that represents their interests and the world’s musical wants.

So they took as long as they felt they needed and made their next album the exact way they wanted to, which meant they took until 2010 and came out with “Congratulations,” a more psychedelic offering influenced more by ’60s psychedelic music and surf rock, which was not as appreciated by the general public.

In fact, listeners felt somewhat betrayed: Why would MGMT stop pumping out the great pop music that’s a little bit different that we love so much? It was good and it was distinctively “them,” so where’s the issue?

As mentioned, Goldwasser and VanWyngarden are free spirits. They made music for themselves, and others happened to like it. Then they made more music, and it wasn’t liked quite as much. It still drew a crowd, but more on the indie spectrum.

Their career trajectory is like the inverse of many indie bands: start out with a unique sound that gets a small-but-loyal fan base, then give in to the trappings of corporate pressure and fame-seeking, “clean up” their sound and make some more money.

To complete the Benjamin Button-like nature of their career, they even named their most recent album “MGMT,” even though self-titling a record is usually done on their first release. The album has a weirdness that surpasses anything the group has put out so far.

The 10-song collection feels like the work of a young band who hasn’t yet learned their lesson and is still making the oddball experimental music they started with. Rather, it is the product of a duo who have learned their lesson, which is that as long as you are doing what you are doing well, the unique expression of musical risk-taking will find an audience that appreciates it.

If “Your Life is a Lie” seems like a weird single, that’s because it is, but it’s also the closest thing on the album to a single. The 2-minute track, in the context of the album, feels more like a strange chanted interlude that a full-fledged song. It stays in the same sonic space the whole time, and although it sounds exactly like MGMT, it doesn’t belong on the radio.

Perhaps the single is a message: “This is us, we’re still doing us, and it’s different than what you might want or expect. If you don’t like it, that’s fine, but we’re still around, so feel free to listen if you so choose.”

On the other hand, the lead single “Alien Days,” serves as an easier transition from the “classic” MGMT sound to their current incarnation. The structure and instrumentation are more traditional than anything else on the record, but the flowing psychedelic cut will likely receive better ratings on Pitchfork than it will in Rolling Stone.

Power to MGMT for being the version of themselves they want to be. Often, a few albums in, a band can lose track of why they decided to make music in the first place, but MGMT continues to be the band they want to be, whether you like it or not.

2. Yeasayer – Fragrant World, the curiously titled album from Yeasayer, sounds basically like its predecessor, 2010′s Odd Blood, and thus nothing like the band’s debut, 2007′s All Hour Cymbals. Given the acclaim that their debut received, it’s curious and rather disappointing that Yeasayer have moved away from its wide-eyed eclecticism toward a more conventional sound. Still, they’re hardly the first band to change the sound that brought them to the public’s attention — we’ve put together a selection for your reading delectation after the jump.

Before: Strange world music-influenced eclecticism
After: Identikit Brooklyn “hey, look, we have synths!” stuff

So, yeah, Yeasayer: what happened? Their debut album, 2007′s All-Hour Cymbals, wasn’t for everyone, but it was a pretty fascinating beast: full of strange African rhythms, choirs, and god knows what else. There was a certain ingenuousness to it, like a bunch of kids discovering a heap of music in a hitherto unexplored corner of a record store and deciding to make everything they heard into an album. Since then, though, they’ve settled into making the sort of mildly psychedelic synthpop that it seems compulsory to make if you live in Brooklyn. Sigh.

3. Depeche Mode

Before: Slap-happy, mildly camp synthpop
After: Portentous stadium rock

Perhaps the best example of this phenomenon, Depeche Mode were already well-established as ’80s dancefloor staples (“Just Can’t Get Enough,” etc. etc.) by the time Dave Gahan decided at the end of the ’80s that he wanted to be a rock star. The result was two of the finest albums of the band’s career — Violator and Songs of Faith and Devotion — and Gahan’s near-death from a heroin/cocaine overdose.

4. Pink Floyd

Before: Winsome psychedelic noodlings
After: Portentous stadium rock

We guess that if you somehow went back in time and played ’70s Floyd to a ’60s Floyd fan, they’d have refused to believe it was the same band (if they could actually string a coherent sentence together, that is). The band’s great stylistic shift coincided with the departure of Syd Barrett for la-la land, and the consequent rise of Roger Waters to songwriting prominence. By the mid-’70s, Waters was in complete control and the band was making weighty concept records that sold gazillions of copies and sounded absolutely nothing like The Piper at the Gates of Dawn. We rather prefer Waters-era Floyd, but it’s ultimately a matter of taste.

5. The Horrors

Before: Misfits cover band
After: Shoegaze devotees

The big shock with The Horrors’ 2009 album Primary Colours wasn’t that it was so different from its predecessor — it’s that it was so good. After all, the band’s first album, 2007′s Strange House, was largely clichéd sub-Misfits horror pop, and while it did well enough, charting in the band’s native UK and getting the NME all hot under the collar, it hinted at nothing remotely interesting in the band’s future. Happily, that all changed with Primary Colours, which was a fine piece of neo-shoegaze that deserved all the acclaim it got.

6. Radiohead

Before: Best guitar band of the ’90s
After: Warp devotees

And, of course, speaking of bands who transcended relatively uninspiring records, there’s Radiohead, who’ve undergone at least two great stylistic shifts. The OK Computer to Kid A transition was the more relevant one in this context, since the band were already global megastars at the time they decided that actually they’d rather make experimental electronica than experimental guitar music. The decision made for a legion of bewildered fans, but a decade on, Kid A and Amnesiac stand up rather well indeed.

7. The Clash

Before: Angry left-wing punks
After: Angry left-wing musical visionaries

The Clash and Give ‘Em Enough Rope established the Clash firmly in the top tier of first-wave UK punk bands, but their next two records — London Calling and Sandinista! — proved that they were far more interesting than that. The latter was perhaps too sprawling and ambitious for its own good, but the former remains an enduring masterpiece, a gleeful romp through the history of rock ‘n’ roll that also serves as conclusive proof that a band can (and should) continue evolving.

8. Best Coast

Before: Most excellent psych weirdness
After: Sub-girl group Cali tedium

Come back, Pocahaunted! All is forgiven!

9. Robyn

Before: Cheesy pop and child stardom
After: Hyper-cool electropop and angular haircuts

A curious fact about Robyn: for all the acclaim received by the various Body Talk releases and her 2005 self-titled record, her best-selling US album remains 1995′s Robyn Is Here, which was released in her native Sweden when she was 16 and contains two US top 10 hits (“Do You Know (What it Takes)” and “Show Me Love”). There are others who’ve reinvented themselves after child stardom — see also Björk, Alanis Morrissette, etc. — but Robyn is probably the one who enjoyed the greatest fame the first time around, which makes her reinvention all the more remarkable.

10. Nick Cave

Before: The Devil incarnate
After: Suit-wearing piano balladeer

Even in his most hell-raising days, Nick Cave had a way with a love song, so perhaps the somber, restrained piano ballads of The Boatman’s Call shouldn’t have come as a great surprise. Still, his 1997 masterpiece was quite the stylistic shift from its predecessor — the gleefully malevolent Murder Ballads — and it was a resounding success. It also meant for a couple more albums of diminishing returns on the same idea, but happily, he’s regained his old fire of late, even if we’re not as big fans of Grinderman as everyone seems to think we should be.