Skylarking, to me, is a deceptive album. Despite starting on an uplifting note (courtesy of the drums on "Summer's Cauldron", oddly enough), it ultimately crushes me emotionally to a degree rivaled only by a Radiohead album or two. I see the album as being about trying to keep a brave face through life's trials, and the terrifying ending of "The Man Who Sailed Around His Soul" is the moment when this bravery is finally shattered. Up until then, including the rest of that track, any darkness is offset by intentional silliness (think the stretch beginning with "...Supergirl") or a sense of mystery ("Another Satellite" and "Mermaid Smiled"). Fittingly, it is followed by the utterly bleak "Dying".

Or not, depending on which version you're listening to. I still have not listened to the "fixed polarity" remaster, because of the unbelievably inappropriate album cover. I did see it in a library once, and thought to myself "nobody's ever going to borrow this one".


Even though I recognize that it is inferior, I have generally listened to Nonsuch more often, as it has a similar sound while being way easier on the emotions. I see the album as being genuinely mature, while Skylarking is "mature" in quotation marks. A key factor here is the placement of "Rook" as the central song, rather than later on. If (say) "Wrapped in Grey" and "Rook" swapped places, the album would have the same implications as Skylarking - youthful wonderment extinguished by intimations of mortality.

The other thing that strikes me about Nonsuch, which I'm disappointed that you didn't mention, is its symmetry - an unusual structure for a rock album as it is only really possible in the CD era:
Tracks 1 and 17 are the two "big anthems" and the album's longest tracks by a significant margin.
Tracks 2 and 16 are Moulding's softer contributions.
Tracks 3 and 15 both have noisy percussion and prominently feature the organ later on.
Tracks 4 and 14 both have a relaxed jazz feel, and both have verses in an ambiguous minor key and a rich refrain in the parallel major.
Tracks 5 and 13 are Moulding's harder contributions, and both could be considered preachy, although I don't see either one as entirely straight-faced.
Tracks 6 and 12 are the "prettiest" songs, not much else to say there.
Tracks 7 and 11 admittedly have little in common, but it is interesting to note that 6 cross-fades into 7, while 11 cross-fades into 12.
Tracks 8 and 10 are a pair of hyperactive numbers flanking...
Track 9 is "Rook". An album doesn't need two tracks in that vein, even if it is my favourite besides "Wrapped in Grey".

In all fairness, I didn't notice at first either.