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Rating:
Excellent debut by that group that emerged from Norman Smith's sound experiments in the infamous Abbey Studios. Their promising career would begin shortly thereafter, highlighting the deterrent significance of Barrett's latent mental stability. Even here, as with the Doors, it is difficult for me to judge whether Barrett's absence, which was well replaced by Gilmour, was a good or bad thing.
The opening track is the beginning of what would become Pink Floyd's trademark, namely the best execution of psychedelia (a step above King Crimson and Grateful Dead), where Syd's schizophrenic genius is evident right from the start of the masterful "Astronomy Domine" (later revisited in "Ummagumma") with experimentation of interesting sound effects and particular vocal metrics. The influence of the aforementioned Smith, sound engineer for the Beatles during "Rubber Soul" and "Revolver", who would "leave" them during the "Sgt. Pepper's" sessions, is evident.
Even with excellent results, one can notice that in "Matilda Mother", featuring an oriental-esque solo that serves as a great balance point, the ending of "I Want to Tell You" is reminiscent, while "Flaming" gives way to the ending of "I'm Only Sleeping". In "Take Up the Stethoscope and Walk", one can recognize a touch of Zappa's absurd style already present in "Freak Out!"
Nothing to disparage, far from me, in fact it seems that Pink Floyd sense which is the right path that will lead them to worldwide success and they bet everything (at least in the debut) on "Interstellar Overdrive", where their distinct mark is clearly recognized. The metallic whirlpools represented in this performance provide the opportunity for turgid minds to sink into a plastic effect of estrangement that gives the impression of a slow flow, almost gently with surreal metrics. Indeed, it is an impression. The daring flight of screeching brakes in the innermost nodes of cerebral circuits takes hold, assuming a fierce dominance over the English group's unmatchable orchestrations.
It would seem to say to them: "Psychedelia is our stuff, gentlemen, step aside!". In my view, they have every right to claim it, even though the ancestral influences (in chronological order Bob Dylan, Donovan, Byrds, Holy Modal Rounders, 13th Floor Elevators, Kinks, Beatles) and their contemporary ones (Frank Zappa, Jefferson Airplane, Soft Machine, Moody Blues, Velvet Underground, Grateful Dead) cannot be denied.
Pink Floyd are Pink Floyd, and flirtatious glances can be granted (always in my opinion) only to King Crimson (The Court of the Crimson King, In the Wake of Poseidon, Red) and Grateful Dead (Anthem of Sun). The rest is copy.
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