Is it possible to have vinyl nearly noise free?

Yes it is possible. Vinyl is like wine. There are good ones and bad ones.
You usually get a near silent pressing with Decca, EMI, Erato, and Hamonia Mundi. Phillips and DGG about 1/2 the time. I'm sure there are other small European labels that do a good job. The worse pressings are from Rhino. I sent back 8 copies of Joy Division's Closer. Finally they ran out of copies and I picked a different record. And do not fall for that 180 gm thing. It does not get you a clean pressing. Analog Productions is the only American company you can count on. Mobile Fidelity occasionally. 

Once a record is noisy it is noisy for life. The secret to having clean records is don't let them get dirty in the first place. Use a dust cover and a grounded sweep arm (Sleeve City sells one for $20). Do not put stuff on your record. The placebo effect is rampant here. Either it all evaporates (the Freon in Last) or it gums up your stylus and glues dust to the record so the next time your stylus passes by it can be ground right in. 
The only reason to buy a record cleaner is if you buy used records. An ultrasonic machine using distill water is the best. I use a Spin Clean with distilled water only, usually to clean other peoples records. I rarely use a stylus brush because I do not put gunk on my records and the grounded sweep arm kills static and sweeps any incidental dust out of the way. Once a month or so I clean the stylus and the sweep arm with an artist's brush and 91% iso propyl alcohol. Mix it with 25% distilled water and you have the worlds greatest windshield cleaner!

There are numerous very quiet phono stages out there. Compared to the noise on the record their noise is inconsequential. Even the quietest record has a blowing sound to it. 

Is it possible to have vinyl nearly noise free? 

Kinda sorta maybe.

I don't have a vac cleaner right now.

I've owned them 4-5 times now. I miss them. I don't miss them. I want to get one. I can't be bothered to get one.

@mijostyn-the issue I mentioned about phono stages  has less to do with 'self-noise' of the phono stage and more about how it behaves in response to surface noise, tics, etc. Ralph Karsten of @atmasphere has written at length about that here. 
For stylus cleaning, Ortofon advises against using any solvents that can damage the cement used to bind the stylus to the cantilever. Other cartridges- I think it is worth checking with the manufacturer-- I know Lyra promote a liquid that is safe with their cartridges which I used when I was running Lyra cartridges, but I've only dry brushed (or on occasion, used Magic Eraser or Blu-Stuff, per Peter Ledermann) with my Airtights. My Koetsu is brand new and I've only been dry brushing so far, using a longer bristle brush than the normal 'pad' type. 

Yes.
I am very used to playing entire album sides without ticks and pops.

I don't use record cleaners either.

What most people don't know, including phono preamp designers, is that the phono preamp itself is often responsible for about 90% of the ticks and pops often heard. I know this sound outrageous but I've seen this play out quite often.


How it works is like this: The cartridge and tone arm interconnect cable form a tuned resonant circuit (called a 'tank circuit' on account of the fact that the circuit can store energy at a certain frequency) due to the inductance of the cartridge and the capacitance of the cable. The resonant peak is outside of the audio band- in the case of LOMC cartridges might be over 100KHz up to several MHz. It can be as much as a 30 dB peak!

If your phono section has poor overload margin this can cause ticks and pops. And to illustrate what is meant by '30dB', this is a peak that is 1000 times higher than that of the signal itself. If you have a moving magnet high output cartridge, this peak exists at a lower frequency (in some cases might even be at the extreme upper region of the audio band) and less profound, but it can still be 20dB which is 100 times more powerful than the signal. Either way the cartridge energy sends the tank circuit into 'excitation' (oscillation) and you can get a tick or pop when the phono section briefly overloads.


There is more- some phono sections have stability problems. What many phono preamp designers don't get is that a good phono section is more than just enough gain, proper EQ and low noise. It must also resist RFI (Radio Frequency Interference, which is generated by the the tank circuit) and to do that, devices known as 'stopping resistors' (and sometimes 'RF beads') must be employed in the design. These resistors are placed at the input of a tube or other active device to prevent oscillation. If not there, it is possible for the active device to ring (oscillate) but only slightly- not oscillating all the time (if it did the design would not have gotten past quality control); just on certain input signals.


So if your phono section is stable and has good overload margin you will experience a lot less ticks and pops. I've seen this be pretty dramatic- upon hearing such ticks and pops it might seem as if the vinyl is noisy, but on a good phono preamp the same record is silent. A side benefit is that if this is so, its highly likely that if you are running a LOMC cartridge you won't have to engage in the 'cartridge loading' exercise, since that loading is all about detuning the tank circuit at the input of the preamp and thus preventing it from generating RFI.


Further, when you load a LOMC cartridge (100 ohms is common) you are making it do more work than when it drives the standard 47,000 ohms. The energy to do that work has to come somewhere and the result is that the cantilever of the cartridge and be stiffer and less able to trace higher frequencies.


Unfortunately most of the phono sections in many vintage solid state receivers were unstable and so an entire generation of audiophiles has grown up thinking LPs are loaded with ticks and pops. Usually they aren't- when an LP is mastered, the lathe cut is sent to a pressing plant and a 'test pressing' is made in order to find out if the mastering and subsequent stampers worked out properly. The artist or producer has to sign off on this test pressing and that means the test pressing had no ticks and pops so neither did the stamper. As a result, most LPs are silent when purchased but you will see many audiophiles upset about ticks and pops in vinyl and even going digital to get away from them, when quite commonly its just a poor phono section that's causing it.

Still, one has to admit, the way the phono stage knows to make the tick happen every time the record comes around, is pretty impressive.