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An Electric Storm

White Noise (ホワイトノイズ)

基本情報

ジャンル
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カタログNo
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510948
組み枚数
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1
レーベル
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フォーマット
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CD
クレジット
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Annie Bird(Vocals),  John Whitman(Vocals),  Paul Lytton(Percussion),  Val Shaw(Vocals),  David Vorhaus(Sound Effects),  David Vorhaus(Production Coordination),  Trevor Wyatt(Transfers),  Brian Hodgson,  Brian Hodgson(Electronic Sound Design),  Delia Derbyshire(Electronic Sound Design),  Delia Derbyshire(Electronic Sound Design),  Phil Smee(Reissue Package)

商品説明

An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album. For although the White Noise were almost exclusively composed of virtuoso knob twiddlers and tape splicers moonlighting from the BBC Radiophonic Workshop, luckily they were no slouches when it came to penning a decent tune. There's also anarchic humor at play on the manic Here Come the Fleas, which contains more edits in its two minutes than the whole of Sgt. Pepper's.

Yet it's the retro-futurist textures that still grab the ear most. These are sounds that will be familiar to anyone who knows the soundtrack of Forbidden Planet or the early series of Doctor Who, but they had never before been deployed in the service of pop music, nor have they since. And whereas the Moog would supplant all of these primitive, time-consuming techniques of sound generation and manipulation within the year, it also destroyed much of electronic music's spirit of adventure in the process. How could you boldly go where no man had gone before when your sound universe was suddenly overlaid by tram lines and route maps? So although most of the songs that make up the first half of An Electric Storm are pretty much your standard-issue polite British psychedelia (the somewhat embarrassing United States of America-style orgy of My Game of Loving aside), the way they're dressed up still sounds innovative decades later. Sometimes songs dissolve into bleeps, whooshes, and gurgles that hurtle between your speakers, but compared to the extended guitar and organ solos that were common currency at the time, they are the very essence of restraint. That said, restraint was put to the sword on the final two tracks, the 12-minute The Visitations and the seven-minute The Black Mass: An Electric Storm in Hell. The former is a decidedly spooky Leader of the Pack-style drama with a supernatural twist. The biker, having departed this life, attempts to make one last attempt to cross over and console his grieving beloved, only to fall agonizingly short. If you can suspend your disbelief -- and persuade yourself that the biker's departing spirit doesn't sound like a cappuccino machine -- it's spine-tingling stuff that you won't dare listen to with the lights off. Which is more than can be said for the concluding track, a would-be satanic jam session botched together in a hurry to meet Island's suddenly imposed deadline. ~ Christopher Evans, All Music Guide

収録曲   

  • 01. Love Without Sound (03:07)
  • 02. My Game of Loving (04:10)
  • 03. Here Come the Fleas (02:15)
  • 04. Firebird (03:05)
  • 05. Your Hidden Dreams (04:58)
  • 06. Visitations
  • 07. Black Mass: An Electric Storm in Hell (07:22)

総合評価

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4.0

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もしデベッシュ・モードやアート・オブ・ノ...

投稿日:2011/06/23 (木)

もしデベッシュ・モードやアート・オブ・ノイズが35年位前にデビューしてたら…こんな感じ…ってサウンドです。その昔、渋谷陽一さんのFM番組で『ファイヤー・バード』を聴いて以来このアルバムを探しちょりました。OK牧場です。

ガチャピン さん | 長野県 | 不明

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@は、背景の音楽が暗いのに肝心な歌のほう...

投稿日:2006/10/03 (火)

@は、背景の音楽が暗いのに肝心な歌のほうはTHE BEATLESの鼻づまり舌っ足らず声。他曲も前衛とポップのまぜこぜ。

柳井 聡 さん | 新田 | 不明

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'69年発表。ペリー&キングスレイをカットアップした愉快...

投稿日:2006/06/28 (水)

'69年発表。ペリー&キングスレイをカットアップした愉快な「Here Come The Elear」が白眉で、間奏のコラージュ部分が、当時ラジオ番組のジングルに使われたという。アルバム後半のダーク・アンビエントなインストは、ピンク・フロイド「神秘」にインスパイアされて、締め切り時間すれすれででっちあげたものらしい。

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White Noise

By the time White Noise's debut album, An Electric Storm, arrived in 1969, the Moog synthesizer had already started to make tentative appearances on pop records by the likes of the Monkees and Simon & Garfunkel. More primitive tone generators had also provided spacy effects for bands like the United States of America. But no other pop or rock record before (or since) had been so painstakingly asse

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