The album was digitally remastered by Phill Brown and Denis Blackham in 1997.

[30] Pitchfork commented that the remastering on this re-release sounds "amazing, as good as the album's ever sounded, in any format. How startling, isolated moments of sound, or a formless wash of sound, can wring emotions out of listeners as powerfully as any conventional melody. It just feels stupid."[19]. "[7] Differing, distant miking techniques were employed for these instruments, with mics being placed "six feet from acoustic instruments, and about twelve feet from amplifiers. Following their previous release Spirit of Eden (1988), bassist Paul Webb left the group, which reduced Talk Talk to the duo of singer/multi-instrumentalist Mark Hollis and drummer Lee Harris. The band’s hearts, however, seemingly lay elsewhere, in the album’s two considerably more abstract tracks, ‘Chameleon Day’ and ‘April 5th’. But speculation about his label working against him and contributing to the record’s failure is arguably inaccurate. Combined with the mythical recording processes they went through to make the records, it's everything I love in a band and album.”

"[23] Sputnikmusic also rated the album a perfect score of 5/5, saying "in any light, each song on Laughing Stock is brilliant" and that "the world needs to hear this album, even if you haven't liked post rock before, because I guarantee that this is not the type of music you think of when you think post rock. A variety of musicians were also called into the studio to further contribute to Laughing Stock’s unique sound although only a dozen and a half instrumentalists would make the final cut; instruments from drums and cellos to even water kettles would be utilized during production.

Marsh initially painted a cover depicting a group of threatened birds forming the shape of a larger bird in flight over a desolate landscape.

The label were hoping for another global chart smash, but instead, as David Stubbs memorably put it in Uncut in 2002, “when they re-emerged, it turned out that they had done what every megapop band talks about doing but so rarely does – i.e. [21] Jess Harvell of Pitchfork rated the album a perfect score of 10/10 and noted how "sound can become all the more powerful when surrounded by silence, great gulfs of which are all over the later Talk Talk albums, especially Laughing Stock.

He says he's proud of the record and, seeing as it wasn't made for other people, their opinions don't bother him. Marcus Berkmann of The Spectator in a 2001 retrospective felt that the album was "almost wilfully obscure", with a musical style close to free-form jazz that was too far removed from The Colour of Spring for fans to enjoy.

[11], ^shipments figures based on certification alone. Relations between the band and the label subsequently became so strained that Aspden began legal action to get them released from their contract.

The goal, assembling a coherent album from all this stuff, probably seemed quixotic to many of the contributors as it was being made.

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