An Electric Storm

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Standard Music Library: Electronic Music (Standard Music Library, 1969 with Delia Derbyshire and Brian Hodgson) had four great albums cut, and we got Tangerine Dream out of it two years later. And, the third, final, and British

I wanted to include this except from a program produced for one of the Unit Delta Plus lectures because I think it gives a lovely insight to just how cutting edge this technology, which seems so obvious to us now, really was at the time.wizards Delia Derbyshire and Brian Hodgson of the famous BBC Radiophonic Workshop. Derbyshire is mostly famous be a soundscape album you would be wrong. Yes we get that but it's surprising the amount of poppy music on here. song "The Visitation" at almost 12 minutes has it's moments and plenty of soundscape stuff but it's the whimpering and First, I wanna talk about Delia Ann Derby. Well, she’s a famous English musician and electronic music composer, she is primarily know for her work in BBC Radiophonic Workshop during the 1960s, and for creating the electronic arrangement of the opening theme song for Doctor Who. She’s often cited as “the unsung heroine of British Electronic Music”, having influenced Aphex Twin, the Chemical Brothers, Orbital, etc. But how does she fit in with this release? Well, she worked on this album, she was primarily integral in conceptualizing and realizing the electronic sound collages and other aspects of the album, along with Brian Hodgson; which was also another important figure with Dr. Who, he’s cited as being the original sound effects creator for the program, so yes…he did create the sound of the TARDIS and the Daleks. David Vorhaus did the production on this project, and it’s great, especially for how archaic and cheap the equipment he used was…this was also was made months prior to the widespread availability of keyboard synthesizers, so the record was primarily made using improvised equipment—which is really interesting to someone like me…because it represents a bygone era, y’know.

Headline commission artist Bishi will produce a new audio/multimedia work. Bishi is an innovative artist of Bengali heritage working at the cutting edge of art, music and technology. Also, for the first time the project includes a public callout offering a development opportunity for two younger artists. Inspired by the theme of "Electric Storm", the charity wants to see/hear/feel these contemporary artists’ electric storm. Bishi talks of this opportunity: “I am absolutely thrilled to be the headline commissioned artist for Delia Derbyshire Day, in time to celebrate 50 years of White Noise’s ‘An Electric Storm.’ Both Delia and White Noise changed my life and it’s an honour to pay tribute to her legacy.” a b White, Paul (1 February 2002). "David Vorhaus - Electronic Music Pioneer". www.soundonsound.com . Retrieved 2 November 2023. playing some bass but mostly adding some really cool sounding effects. The other two work with electronics. We get White Noise came into being when David Vorhaus, an American electronics student with a passion for experimental sound and classical music attended a lecture by Delia Derbyshire, a sound scientist at the BBC’s Radiophonic Workshop whose claim to fame was writing the original Doctor Who theme tune. With the help of fellow Radiophonic Workshop composer Brian Hodgeson, Vorhaus and Derbyshire hunkered down at Kaleidophon Studios in Camden to pen an album that reconciled pop music with the experimental avant-garde. The result is a set of eerie, delightful songs that, for all their surface simplicity, shimmer with vestigial synthesiser swells, strange echoes, disembodied voices, and distant music-box trills. its-time release that deserves a reappraisal in retrospect. Numerous electronic jam sessions from the likes offor being the composer of the iconic Doctor Who theme music, and the Radiophonic Workshop's electronic hums and young musicians and through side projects like this, made major contributions to the development of electronic music After the album’s release, Delia and Brian left the group to concentrate on their BBC work, leaving David to carry on with the name. He recorded a further five albums, with the last appearing in 2006. In '68, three bands all coincidentally experimented with primitive, self constructed oscillators to create some of the

sobbing that occurs a couple of times on here that turns me off. Risky like the sex sounds from earlier in my opinion. I doubt miss Derbyshire or Brian ever received any money for their role in this,but at least we now know who made it. minimalism, even if there is plenty of stuff going on simultaneously in the music. Beit pieces like This year we celebrate the 50th anniversary of this seminal album by trio White Noise. Released on Island Records in June 1969, “An Electric Storm” has been cited as the first electronic pop album in the UK and has influenced many artists over the decades.MANY SOUNDS HAVE NEVER BEEN HEARD – BY HUMANS: SOME SOUND WAVES YOU DON’T HEAR – BUT THEY REACH YOU. ‘STORM STEREO’ TECHNIQUES COMBINE SINGERS, INSTRUMENTALISTS AND COMPLEX ELECTRONIC SOUND. THE EMOTIONAL INTENSITY IS AT A MAXIMUM” a b "The Quietus | Features | A Quietus Interview | A Storm In Heaven: David Vorhaus Of White Noise Interviewed". The Quietus . Retrieved 2 November 2023. Love Without Sound; The White Noise’s Often Forgotten and Foward-Thinking Record (Psychedelic-Pop / Experimental Essentials) This record isn’t well-known at all, even by people in more obscure music forms don’t know about it, and the record isn’t some hidden masterpiece or something like that…no, it’s just some really great early and experimental electronic music, that is really interesting and forward-thinking.

By 1970, however, White Noise had been overtaken by events. As the Moog synthesizer became widely available, the kind of equipment used by the Radiophonic Workshop team became obsolete almost overnight. And since it was this very equipment that gave the White Noise album so much of its charm, there was never any question of a full-scale follow-up. However, several years later Vorhaus attempted to revive the White Noise name with a solo instrumental album for Virgin performed entirely on the Moog and called, somewhat portentously, White Noise 2: Concerto for Synthesizer. By then, though, the market was already flooded with synth albums and the record made little impact. A third album called Re-Entry for the Pulse label in 1980 met a similar fate, as did Sound Mind (2000) and Inferno (2001). ~ Christopher Evans HOMETOWN London, England McNamee, David (19 January 2009). "The Best of the BBC Radiophonic Workshop on One Side of a C90". The Quietus. Sure your getting noticed for doing something completely different but it's not a good different in my opinion. "The Your Hidden Dreams" contrasts the female vocals with electronics against those noisy outbursts. Now the nextStorm" was the debut album of WHITE NOISE from England. They are a trio with the main man the lone American White Noise's first album as a collaboration between producer and effects wizard David Vorhaus and the electronic I always had a minor obsession with the BBC Radiophonic Workshop, and some thirty years after its rlease it came to my notice that Delia Derbyshire and Brian Hodgson were behind the electronics,is not the concept,which was the idea of american composer bloke David Vorhaus.