I was 15 when this album first hit the streets. To us it was the kind of underground music that we craved. Synth sounds were just starting to grab a generation and any new album that did something different quickly found a market in our circles.
When I spotted this on CD I had to grab it as I have the original on vinyl.
The only real way to listen to White noise is through cans. Sit back, close your eyes and enjoy.
Personally, I think the album holds its own very well and could easily pass for a recent release. The technical acheivement of this forty year old work is pretty astounding. Yes, listen carefully and you can hear where it has its roots shared with the creativity of the Radiophonics workshop in Who, and the BBC timebeat record.If you like the early days of the Moog, Switched on and the like you'll love this, if for no more reason than how much was produced from so very little.
I have the original album (on CD) and now I have this remix too.
The remix sounds much better and I suspect I will play it more often.
In truth I haven't had sufficient time to listen to the new mix, so there may be differences I haven't picked up on yet.
For those of you who are unfamiliar with the album it's very, very "trippy"!
Created at the dawn of time, by David Vorhaus with Delia Derbyshire and Brian Hodson of the BBC radiophonic workshop, this is a feast of oddness.
The tracks range from the quite humerous, and quirky "here come the fleas" to the "Black mass electric storm in hell" which will fully exercise both your speakers, and your partners patience.
DO NOT TAKE PSYCHEDELIC DRUGS whilst listening to this album, especially the last 2 tracks. You have been warned.
Overall, I'd rate this album as "Adults only" with the exception of the track "firebird" which is quite pleasant really.
With a couple of members of the BBC’s Radiophonic Workshop on board, it is perhaps no surprise that this recording sounds decades ahead of the late 60’s, when it was recorded, with high quality production and, for 1968, cutting edge synthesisers and sound processors. Despite the band’s technical & technological prowess, it is an entirely pedestrian experience without a single memorable tune, or even a tune that can hold one’s attention for its duration. Maybe the analogue equipment used added a dimension back then, the same way a few newly programmed 303 electro-stabs liven up an otherwise dull Daft Punk track. Matters are not much helped by the occasional inclusion of deliberately out-of-tune vocals which are neither amusing or innovative, but just sounds childish and annoying.
This CD then has some value as an artifact for the most completist of Dr Who fans and those interested in the history of synthesisers/electronic sound, but don’t think its going to impress anybody outside either of those disciplines – you’ll just look like a nerd.