heard on the LP: "If YOU fweemfweemfweemfweem apapapapapapap have an olD SunbeamToaster ugwachattttattachurgchurg churg and enjoyputting your dddddldddlddlllder ear up to it wwhoooooooggggg*-*- you may enjoy this album phwerpphwerp phwerp …" Retrospective assessment In the 2004 Rolling Stone Album Guide, Mac Randall called the album and its predecessor, Wonderwall Music, "interesting, though only for established fans". Richard Ginell of AllMusic says that the same two albums showed that Harrison defied "pigeonholing" in his projects outside the Beatles, and he writes of Electronic Sound: "Though scoffed at when they were released, these pieces can hold their own and then some with many of those of other, more seriously regarded electronic composers. And when you consider that synthesizers were only capable of playing one note at a time and sounds could not be stored or recalled with the push of a button, the achievement becomes even more remarkable." In his appraisal of Harrison's solo career for Mojo in 2011, John Harris described the album as the "Fabdom" equivalent of Lou Reed's Metal Machine Music, adding: "Not exactly music, though you could conceivably assume the endless whooshes and random notes were the work of admirably out-there Krautrockers." In his article on the Moog for the same magazine, in 1997, John McCready wrote that the album conveyed "caveman confusion" on Harrison's part, but he grouped it with experimental releases by Jean-Jacques Perrey, Dick Hyman, the Hellers, Mort Garson and TONTO's Expanding Head Band, saying: "It says something about the compelling-even-when-crap nature of the Moog that it is possible to own and enjoy all these records." Interviewed in The Quietus, producer Benge includes it among his favourite electronic music albums. He says that Harrison's fascination with the Moog typified the interest the new instrument received from top rock musicians at the time, and he adds: "Luckily for us he decided to release it (with a great cover painting by a small child) … While my Synth gently beeps." Writing for The New York Observer, Ron Hart considers it to be one of Harrison's unjustly overlooked works and he says that while it was tainted by the controversy with Krause, the project stands as an "oddly visionary testament to the Zapple label and its unsung promise to bring the avant-garde to the pop crowd". In a 2014 review for Uncut, Richard Williams said that just as the Beatles' fan-club Christmas records were inspired by the Goons,