Ironically, it's the most background-oriented material that works as forefront-of-attention listening, as far as the modern ear's concerned. Listening to Disc 1 of Retrospective and to the re-reissued and essential early compilations BBC Radiophonic Music and The Radiophonic Workshop, it becomes clear that the gold here is the least conventionally "musical" stuff, the mood-tints and abstract ambiences. It also means that inspired ideas seldom stick around long enough to develop or even revolve to reveal different facets.
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Yet just like The Residents's Commercial Album, the constraints of being ancillary to TV and radio productions distil the Workshop's creativity into intense flavor-bursts of emotion or eerieness. On the new 50th Anniversary Retrospective, few of the 107 tracks last longer than two minutes many are less than a minute one is just 10 seconds. Yet an ever-growing Radiophonic cult, myself included, can happily while away hours listening intently to such sound-splinters.īy necessity rather than design, the Workshop's aesthetic was miniaturist and non-imposing, a world away from the ambitious scale and expressive intensity of their musique concrete and electronic counterparts in Europe.
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If you ask FX wizards Brian Hodgson and Dick Mills, they'll say that the atmospheres and noises they created were never meant to be heard as stand-alone aesthetic objects. Strangely, though, there's been little real assessment of the Workshop's output: what it represents as a musical legacy, whether it really works outside its context as "special sound" for radio and TV. The story of the Radiophonic Workshop is well-known nowadays, from Doctor Who and the driven, increasingly dotty Delia Derbyshire to John Baker's tape-editing triumphs and troubles with the bottle.