include the planned 1000-word liner note essay in the CD booklet for his album, he supplied his own text, reading simply: "It could be called avant-garde, but a more apt description would be (in the words of my old friend Alvin), Avant Garde Clue!" Electronic Sound was reissued in remastered CD form on 22 September 2014, as part of the Apple Years 1968–75 Harrison box set. The album was also made available as a high-resolution 24-bit 96 kHz digital download. The Moog 3P synthesizer used by Harrison on the album is still owned by the Harrison family and is pictured in the centre photo spread of the 2014 CD reissue. Dhani Harrison supplied an essay in the CD booklet in which he recalls his father's explanation of the cover painting. Critical reception Contemporary reviews Allen Evans of the NME described the record as "for intellectuals, a rare LP for 'reading into it' something that probably isn't there". He found little meaning in the combination of mechanical sounds on "No Time or Space" and said that "Under the Mersey Wall" was more musical, with a semblance of form revealing itself after an opening that he likened to "someone learning an instrument". Melody Maker compared Electronic Sound favourably with Wendy Carlos's Moog album Switched-On Bach, which became a surprise commercial hit after entering the Billboard Top LPs chart in March. The writer said that Harrison's work was superior because, unlike the Carlos LP, "it never tries to reproduce sounds produced originally by humans. That is the way [electronic music] must go." In his joint review of Electronic Sound and Life with the Lions, Ed Ward of Rolling Stone dismissed the Lennons' album as "utter bullshit" and said that Harrison had "done quite well learning his way around his new Moog Synthesizer ... but he's still got a way to go". Ward added: "The textures presented are rather mundane, there is no use of dynamics for effect, and the works don't show any cohesiveness to speak of. However, if he's this good now, with diligent experimentation he ought to be up there with the best in short order." Writing in Fusion magazine, Loyd Grossman pondered whether the album would have been released if not for the Beatles owning Zapple. He said that the record's shape and resistance to water made it useful as a "porthole cover" and concluded, in imitation of the noises