Noise

The musical genre known as noise is one that is characterized by its high levels of distortion and unconventional approaches to sound. Though noise has been around for centuries in some form, its rise as a distinct genre can be traced back to the mid-twentieth century. One important precursor to noise was the musique concrete movement, which emerged in France in the 1940s. This approach to music emphasized the use of recorded sounds as building blocks for sonic collages, often featuring sounds that were traditionally considered to be “noise.” This approach was influential on experimental musicians around the world and paved the way for later noise artists. Another key influence on noise was the rise of punk rock in the 1970s. Punk challenged the dominant conventions of rock music, and many punk bands incorporated elements of noise into their sound. Some of the most influential early noise artists emerged from the punk scene, including Throbbing Gristle and Whitehouse. In Japan, a parallel movement to noise was also developing in the 1970s, called “onkyo.” Like noise, onkyo was characterized by an emphasis on unconventional approaches to sound, but it drew on different cultural and aesthetic traditions. Onkyo performers often used traditional Japanese instruments and approaches to sound-making, as well as more modern electronic equipment. During the 1980s and 1990s, noise continued to evolve and expand around the world. In Japan, the noise scene flourished, with artists like Merzbow and Masonna pushing the boundaries of what was possible with distorted sound. In Europe and the United States, noise was also gaining popularity, with artists like Nurse With Wound and Sonic Youth incorporating noise elements into their music. Today, noise continues to be a vibrant and diverse genre. There are countless sub-genres and variations, from harsh noise wall to noise rock to power electronics. Some of the most innovative and exciting music being made today falls under the umbrella of noise, and it continues to attract new listeners all the time. One thing that is notable about noise is its close ties to experimental art and culture more broadly. Many noise artists also work in other mediums, such as visual art or performance art. Noise as a genre is often associated with a particular DIY spirit and a rejection of mainstream norms and values. Another distinctive aspect of noise is its relationship to technology. Many noise artists use a range of electronic equipment to create their sound, from vintage synthesizers to custom-built effects pedals. This focus on technology is often seen as reflective of wider cultural shifts towards digitalization and the rise of the internet.

Merzbow: Merzbow is the moniker of Japanese noise artist Masami Akita. With a vast discography spanning several decades, Merzbow is considered to be one of the most important figures in the noise genre. Known for his uncompromisingly loud and chaotic soundscapes, Merzbow's work often incorporates elements of industrial, drone, and free jazz. Nurse With Wound: English musician Steven Stapleton founded Nurse With Wound in the late 1970s. Known for their experimental approach to music-making, Nurse With Wound's sound can be described as a blend of ambient, industrial, and musique concrete. Their use of found sounds and unconventional instruments has made them a favorite among fans of avant-garde music. Wolf Eyes: Wolf Eyes is a noise rock band from Michigan. Formed in 1996, the group has released over 100 recordings and is known for their abrasive and improvisational approach to music-making. Their live shows are considered to be intense experiences, with the band's members using homemade instruments and electronics to create an unpredictable soundscape. Whitehouse: Whitehouse is a British power electronics group that was formed in the early 1980s. Known for their provocative and controversial lyrics, Whitehouse's music often explores themes of violence and sexuality. Their sound can be described as intense and aggressive, with heavy use of distortion and feedback. Prurient: Prurient is the moniker of American musician Dominick Fernow. With a discography spanning over two decades, Prurient's music can be described as a blend of noise, power electronics, and black metal. Known for his intense live shows, Prurient's sound is often characterized by its harsh and abrasive textures. Masonna: Masonna is the moniker of Japanese noise musician Maso Yamazaki. Active since the early 1990s, Masonna is known for his loud and chaotic sound, which incorporates elements of free jazz and psychedelic rock. His live shows are considered to be legendary, with Yamazaki often destroying his equipment and physically injuring himself during performances. C.C.C.C.: C.C.C.C. (short for Cosmic Coincidence Control Center) is a Japanese noise group that was formed in the early 1990s. Known for their use of electronics and unconventional instruments, C.C.C.C.'s sound can be described as a mix of industrial, psychedelic, and drone. Their live shows are often intense and unpredictable, with the group using a variety of props and visual effects to enhance the experience. John Wiese: John Wiese is an American musician and visual artist. Active since the early 2000s, Wiese's music can be described as a blend of noise, experimental, and free improvisation. His use of field recordings, found sounds, and unconventional instruments has made him a favorite among fans of avant-garde music. Kevin Drumm: Kevin Drumm is an American musician and composer. With a discography spanning over two decades, Drumm's music can be described as a blend of noise, ambient, and experimental. His use of processed guitar and electronics has made him a favorite among fans of experimental music. Black Dice: Black Dice is an American experimental music group that was formed in the late 1990s. Known for their use of unconventional instruments and electronics, Black Dice's sound can be described as a blend of noise, dub, and psychedelia. Their live shows are often chaotic and unpredictable, with the group incorporating elements of performance art into their performances.

1. "White Light/White Heat" - The Velvet Underground 2. "Trout Mask Replica" - Captain Beefheart and His Magic Band 3. "Daydream Nation" - Sonic Youth 4. "Boredoms Super æ" - Boredoms 5. "Pulse Demon" - Merzbow 6. "Psychic Powerless" - Naked City 7. "Goo" - Sonic Youth 8. "Tooth and Nail" - Zeni Geva 9. "Locust Abortion Technician" - Butthole Surfers 10. "Safe as Milk" - Captain Beefheart and His Magic Band 11. "Filth" - Swans 12. "Venus Luxure No. 1 Baby" - Lydia Lunch 13. "Bee Thousand" - Guided by Voices 14. "Come My Fanatics" - Electric Wizard 15. "Chopin – Live at Kutna Hora" - Hrvatski 16. "PBX Funicular Intaglio Zone" - John Frusciante 17. "American Don" - Don Caballero 18. "Conclusion of Pollution" - The Hanatarash 19. "Music for 18 Musicians" - Steve Reich 20. "Lucifer Rising" - Bobby Beausoleil 21. "Pink" - Boris 22. "Marrow of the Spirit" - Agalloch 23. "Deathconsciousness" - Have a Nice Life 24. "Dance Mania '95" - DJ Deeon 25. "Ride the Lightning" - Metallica

In his essay "The Sound Foundation," John Cage explores the philosophical implications of sound and the way we perceive it. He argues that noise, often seen as an unwanted or unpleasant disturbance, should be considered as a legitimate form of musical expression. "I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments," he writes. Similarly, Jacques Attali, in his book "Noise: The Political Economy of Music," argues that music is a reflection of the society in which it is produced and consumed. He claims that noise is the byproduct of a culture in crisis, in which the ruling elites use music to silence dissent and maintain their power. "Noise is violence," he writes. "It is the suppression of thought, of the future, of the other." At the same time, other writers have explored the physical and psychological effects of noise on human beings. In his book "Soundscapes: Essays on Vroom and Moo," R. Murray Schafer argues that we have lost touch with the natural soundscape that used to surround us, and that this has negative consequences for our health and wellbeing. "Noise is pollution," he writes. "It interferes with our ability to communicate, to connect with ourselves and others." Noise has also been a subject of artistic experimentation. In his work "4'33"," John Cage created a composition that consists entirely of silence, forcing the audience to confront the sounds around them and question the concept of music itself. "There is no such thing as silence," he says. "Something is always happening that makes a sound." Similarly, in her book "The Tuning of the World," R. Murray Schafer explores the ways in which sound can be used to create a more harmonious and meaningful environment. She argues that we should pay more attention to the soundscape in our daily lives and seek to create a more balanced and enjoyable sonic environment. "Sound shapes our lives," she writes. "It is both a reflection of our culture and a tool for creative expression." Finally, noise has also been the subject of political discourse and activism. In her book "Noise and Capitalism," Felicity Ford analyses the ways in which noise is being used as a tool of resistance against the neoliberal capitalist system. She argues that noise can be used to disrupt the dominant discourse and create spaces for alternative voices and ideas. "Noise is a tactic," she writes. "It is a way of expressing dissent that cannot be easily ignored or silenced."

Socially, Noise music can be seen as a response to the general anxiety and dissatisfaction felt by many young people in the 1980s. The political and economic systems of the time were characterized by instability, uncertainty, and a sense of impending crisis. In Japan, the punk movement had emerged as a reaction to the conservative political climate and rapid industrialization of the country. Noise music was a continuation of this rebellious spirit, with artists seeking to challenge the norms of the music industry and push the boundaries of what was considered "music." Culturally, Noise music was part of a larger movement of avant-garde art and performance that sought to break with traditional aesthetic conventions. This movement was characterized by experimentation, improvisation, and an emphasis on process over product. For many Noise artists, the act of creating music was as important as the final result, and their performances were often as much about the physicality of the sound as the music itself. Technologically, Noise music was made possible by the development of new electronic instruments and recording techniques. Early Noise artists like Merzbow and Whitehouse used primitive analog synthesizers and tape loops to create their sound. Later artists like Fennesz and Tim Hecker incorporated digital technology, using laptops and software to manipulate and process sound in real-time. These new tools allowed artists to create complex, layered compositions that would have been impossible to achieve using traditional instruments. Notable record labels played a critical role in the development of Noise music. In Japan, Alchemy Records was founded by Masami Akita (aka Merzbow) in 1984 and became a hub for the Noise scene. Other labels like RRRecords, Hospital Productions, and Mego emerged in the US and Europe and helped to promote the genre internationally. These labels were often small and independently run, and they operated outside the mainstream music industry. They provided a platform for Noise artists to share their work and build a supportive community of fans and collaborators. Journalists and critics also played a vital role in shaping the discourse around Noise music. In Japan, the magazine "Fool's Mate" was an early supporter of the genre, publishing interviews and reviews of Noise artists. In the US, the zine "Bananafish" helped to document the emerging Noise scene, with founder Matt Reis providing a platform for artists from all over the world. Other publications like The Wire and Pitchfork also helped to popularize Noise music and bring it to a wider audience.