ATOM HEART MOTHER

Another Pink Floyd cult classic with that unmistakable cover, the band's fifth effort "Atom Heart Mother" typically makes or breaks the fans. We all undeniably agree on the genius of the later, more fully-formed works ("Dark Side" and "Wish You Were Here" in particular), but on here, progressive fanatics may either despise or unequivocally adore the intense, yet lackadaisically-performed psychedelia displayed on here. I, for one, am erring more to the latter. By no means is it an abomination of a record, but I would certainly disagree that it should be as exalted as highly as their debut, or even perhaps their second effort "A Saucerful Of Secrets". There's still a sense that they feel they should live up to the sound Syd Barrett established in the mid-60s, and they're undoubtedly still coping with his departure at this point. Nevertheless, the addition of Gilmour initially made the albums a little hostile, and what you experience on "Atom Heart Mother" is essentially a compromise between their wacky, LSD-influenced tunes and when they finally found their feet with a new, more effortlessly atmospheric style on "Meddle".

The title track starts the record with a substantial suspense, but after a few minutes this effectively dissipates. I'd hate to call this suite a compendium of mere psychedelic noodlings, as it does have its place above a lot of similar music written by their peers at the time. There are some triumphant, emphatic moments, and it can certainly be regarded as an adventurous, yet soothing mixture of sounds and trippy ingredients (almost like King Crimson's "Islands"), but overall it lacks a punch that I desire and seek for, even in this field of music. You do obtain more of a feel for the track given a couple of listens, but it fails to lack my attention consistently for 25 minutes, and a lot of what invigorates me on here is merely the change on sonics. Some days, I'd almost say their flogging a dead horse and it sounds like an even more laboured "Devil's Triangle". Nevertheless, a commendable composition that does have a place in my heart.

"If" instantaneously exhibits a more bucolic quality, as the cover would suggest, but with a warming sentiment of post-psychedelic quirkiness. It has a certain tentative feel, and sounds a little like a homage to Syd. Essentially, a very stable and tranquil ode that just rolls over you, with a great deal of intimacy generated by the minimal band set-up. The instrumentals and whispering hi-hats that gradually become introduced give it a great sense of development throughout. Certainly much more structured than the first song, and perhaps more musical in the conventional sense while maintaining a vibe reminiscent of the era. Still, I feel there's an absence in the lack of adventure, but this secluded atmosphere does almost go hand in hand with the lyrics.

"Summer '68" again exudes this sensitivity and fragile atmosphere that gets stricken down by a harsher an oddly cheerful ditty that is typical of this brief Pink Floyd era. It does hark back to the earlier days though, as suggested by the title, and you feel there's a longing for a bygone age. The track manages to attain a vivid and outgoing tone without seeming at all showy - a difficult and therefore respectable feat to pull off. The wandering piano, shimmering vocal harmonies, and a crisp acoustic guitar knit it all together, and the occasional brass outburst brings out a more empowering quality.

The folky, wistfulness of "Fat Old Sun" and fairly stagnant chord progression produce a very stifling summery atmosphere. The high vocals emphasise this, with the simple percussion dropping out in the middle section that allows a little more room for your thoughts to roam alongside the saddening slide guitar. Gilmour adds a bluesy touch towards the end, as the whole band come together and express some more oblique soulfulness, with the blistering slide guitar melody soaring over the top. Again, a particularly pastoral moment in Pink Floyd's repertoire that links in beautifully with that surreal yet terrestrial album artwork. For its purpose, "Fat Old Sun" couldn't have done much better.

"Alan's Psychedelic Breakfast" commences with a subtly satirical intro that bears a notably kaleidoscopic vibe once again. The simplistic piano riff emphasises the light-hearted feel the band are trying to, and succeeding to display. The exuberant jam towards the beginning brings out a jolliness and organised chaos. Unfortunately, the mood can begin to wear thin if not in the correct mindset. Nonetheless, the zany sound effects of munching seem to coalesce with the gentle guitar lines, and an extremely unique musical dimension is created. It's certainly not the polished, succinct Pink Floyd heard on "Dark Side", but it really has a personality like very few albums of the time.

C(+): Well, it appears one of my decreasingly frequent Pink Floyd album sessions has grown into a half-rant, half-approbation of this vintage, nostalgia-inducing record. Not their best by any means, but it's worth taking half an hour of your time to delve into the Floyd's unjustly overshadowed back catalogue (including "Atom Heart Mother") if you haven't already - I would sincerely encourage you to do so.

Atom Heart Mother: *** If: **** Summer '68: ***.5 Fat Old Sun: ***.5 Alan's Psychedelic Breakfast: ***.5