In their book on the history and legacy of the Moog synthesizer, Trevor Pinch and Frank Trocco cite Harrison's use of Krause's studio demonstration as an example of the difficulties faced by "Moogists" such as Beaver and Krause in gaining acceptance for their efforts. The authors write that the perception in the recording industry during the late 1960s was typically that, because of the highly technical aspect of the Moog modular system, these pioneers were simply engineers rather than artists or musicians. Pinch and Trocco highlight Mort Garson's The Wozard of Iz and Mason Williams' The Mason Williams Ear Show as further examples; in the case of the latter album, Beaver was credited as being "in charge of plugging and unplugging".
Hartford Courant music critic Roger Catlin has said that the album's appeal is limited to aficionados of "early synthesizer experiments". Malcolm Cecil, who went on to become a leading synthesizer proponent as the co-creator of TONTO, recalls that when he first encountered a Moog 3P, his immediate thought was: "Geez, this is the [instrument] that George Harrison made that record on. I'm looking at it, and I saw it has filters, envelope generator – what the hell is all this stuff?" Tom Rowlands of the Chemical Brothers has cited Electronic Sound as an influence. In his introduction to the 2014 CD booklet, he recalls discovering a rare copy of the LP in a Tokyo record shop in the 1990s and says that the sleeve "now hangs on the wall of my studio, just next to my own Moog modular, beaming inspiration straight to my brain".
In 2003, Electronic Sound was featured in the "Unsung" album series at musician and musicologist Julian Cope's website Head Heritage, The author said he relished the record for providing "all the scant moments of raging Moog-osity I always craved more of as a teenage Emerson, Lake & Palmer fanatic", and described its two tracks as "aural rollercoaster rides, featuring alarming and unusual zapping twists over an assortment of tone colours, pitch-controlled hi-jinks and outright experimentalism in the most extreme album Harrison would ever produce".
Track listing
All pieces credited to George Harrison. US and Canadian LP pressings incorrectly switched the order of the recordings but did not switch the titles.
Side one
- "Under the Mersey Wall" – 18:41
Side two
- <li value="2">"No Time or Space" – 25:10</li>