 
A delirious psychedelic stew served up hot on clouds of reverb and Mary Poppins accents singing songs about bicycles, eider down, scarecrows in fields of barley and gnomes over percussive Wagnerian explosions in echoed chambers with swelling Farfisa and calliope lines creating tension against a collection of human beat boxes and feral noises from deep down in the throat. Improvised staccato and tortured guitar overtures devoid of digital trickery - it's pure analog bliss. It's the soundtrack from the funny farm and duck calls from grandfather's cuckoo clock. Syd Barrett was sending signals through the Milky Way awaiting alien response. Harpsichords and fingers tickling saloon ivory with driving organ solos thick with blues that rival Manzarek and dissipate as quickly as they appear. Jazzy interludes with classical flourishes. Sound design teetering on the edge of a good trip gone bad. It's Beethoven meets Jabberwocky - poppies and poppycock.
Many of these studio effects and tricks will resurface throughout Floyd's later recordings like Welcome To The Machine and Dark Side of the Moon. Engineered by Beatles' Norman Smith for EMI at EMI's Abbey Road Studios across the hall from The Beatles as they recorded Sgt. Pepper.
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