Noise music emerged as a radical departure from traditional musical forms, challenging conventional notions of harmony and melody. This avant-garde genre developed alongside other experimental movements in the early 20th century, reflecting broader cultural shifts and technological advancements.
Influenced by industrialization, atonal music, and Dadaism , noise music incorporated mechanical sounds and rejected established norms. Pioneers like Luigi Russolo and John Cage expanded the concept of musical composition, paving the way for post-war experimental music and the development of various noise subgenres.
Origins of noise music
Noise music emerged as a radical departure from traditional musical forms, challenging conventional notions of harmony and melody
This avant-garde genre developed alongside other experimental movements in the early 20th century, reflecting broader cultural shifts and technological advancements
Early 20th century influences
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Industrialization introduced new soundscapes, inspiring artists to incorporate mechanical noises into compositions
Atonal music pioneers (Arnold Schoenberg) paved the way for non-traditional sound exploration
Dadaist movement embraced chaos and randomness, influencing noise music's rejection of established musical norms
John Cage's 4'33" (1952) redefined music to include ambient sounds, expanding the concept of musical composition
Futurism and noise art
Italian Futurist Luigi Russolo published "The Art of Noises" manifesto in 1913, advocating for the inclusion of everyday sounds in music
Russolo invented noise-generating instruments called intonarumori to create complex soundscapes
Futurist concerts featured performances on these new instruments, shocking audiences and challenging musical conventions
Russian Futurist Vladimir Mayakovsky incorporated street noises and factory sounds into his poetry performances
Post-war experimental music
Musique concrète, developed by Pierre Schaeffer in the 1940s, used recorded sounds as raw material for composition
Karlheinz Stockhausen experimented with electronic music and unconventional sound sources in the 1950s and 1960s
Fluxus movement in the 1960s embraced noise and chance operations in their performances and happenings
American composer La Monte Young explored sustained tones and extreme volumes, influencing later noise musicians
Key characteristics
Noise music deliberately challenges traditional notions of musicality and aesthetic beauty
This genre often provokes strong emotional responses, ranging from discomfort to catharsis
Non-musical sound sources
Industrial noises (factory machinery, power tools) frequently incorporated into compositions
Found sounds from everyday life (traffic, nature) manipulated and amplified
Household objects (kitchen utensils, furniture) repurposed as unconventional instruments
Electronic devices (radios, televisions) exploited for their static and interference
Distortion and feedback
Overdriven amplifiers pushed to create thick, saturated textures
Guitar pedals and effects units used to manipulate and warp sound signals
Microphone feedback loops generate unpredictable, self-sustaining tones
Digital distortion techniques employed to create harsh, glitchy soundscapes
Absence of traditional structure
Rejection of conventional song structures (verse-chorus-bridge)
Non-linear compositions often lack discernible rhythm or time signatures
Emphasis on texture and timbre over melody and harmony
Extended durations challenge listener expectations and attention spans
Subgenres and styles
Noise music has evolved into various subgenres, each with distinct characteristics and cultural contexts
These styles often overlap and influence each other, creating a complex web of sonic experimentation
Japanese noise music
Emerged in the 1970s and 1980s as a response to rapid technological advancement and urbanization
Characterized by extreme volume, harsh textures, and often improvised performances
Notable artists include Merzbow , Hijokaidan, and Masonna
Incorporates elements of performance art and visual aesthetics into live shows
Power electronics
Developed in the 1980s, combining noise with provocative themes and imagery
Often features distorted vocals and confrontational lyrics
Whitehouse, Sutcliffe Jügend, and Consumer Electronics pioneered this subgenre
Explores taboo subjects and pushes boundaries of social acceptability
Harsh noise wall
Characterized by a dense, unchanging wall of sound with little to no variation
Often created using heavily distorted and layered noise sources
Artists like The Rita and Vomir specialize in this extreme form of noise music
Challenges listeners' perception of time and sonic detail
Notable artists and groups
These pioneering musicians have shaped the development and evolution of noise music
Their work has influenced subsequent generations of experimental artists across various genres
Luigi Russolo
Italian Futurist painter and composer who wrote "The Art of Noises" manifesto in 1913
Invented and built noise-generating instruments called intonarumori
Composed and performed noise music concerts that scandalized audiences in the early 20th century
His ideas laid the theoretical foundation for future noise and experimental music
Merzbow
Stage name of Japanese noise musician Masami Akita, active since the late 1970s
Prolific artist with hundreds of releases exploring various noise techniques
Known for extreme volume and dense, layered compositions
Incorporates themes of animal rights and environmentalism into his work
Whitehouse
British power electronics group formed in 1980 by William Bennett
Pioneered the use of extreme frequencies and confrontational performances
Lyrics often explore controversial and taboo subjects
Influenced the development of industrial and noise music scenes worldwide
Instruments and technology
Noise music often employs unconventional instruments and repurposed technology
The genre's evolution closely parallels advancements in electronic and digital audio equipment
Noise generators
Purpose-built devices designed to produce various types of noise (white, pink, brown)
Analog synthesizers with noise oscillators (Moog, Buchla)
DIY noise boxes created from simple electronic components
Software plugins emulating hardware noise generators for digital production
Circuit bending
Technique of creatively short-circuiting electronic devices to produce unexpected sounds
Popular targets include children's toys, keyboards, and effects pedals
Artists like Reed Ghazala pioneered this approach in the 1960s
Emphasizes chance operations and unique, unrepeatable sonic results
Digital noise production
Digital audio workstations (DAWs) offer powerful tools for noise manipulation
Granular synthesis techniques allow for microscopic sound fragmentation and reassembly
Glitch plugins create digital artifacts and errors as compositional elements
Max/MSP and Pure Data enable custom sound processing and generative noise systems
Cultural impact
Noise music has influenced various artistic disciplines beyond music
The genre's philosophy of challenging norms has resonated with countercultural movements
Noise music in avant-garde
Incorporated into experimental theater and dance performances
Influenced visual artists working with multimedia installations
Explored in avant-garde film soundtracks and video art
Inspired poets and writers to experiment with non-linear and abstract forms
Influence on industrial music
Industrial pioneers (Throbbing Gristle, Cabaret Voltaire) incorporated noise elements
Harsh textures and distorted vocals became hallmarks of industrial and post-industrial genres
Noise techniques adopted by industrial dance and EBM artists
Cross-pollination between noise and industrial scenes through collaborations and shared aesthetics
Noise in popular culture
Noise elements incorporated into mainstream rock and electronic music (My Bloody Valentine, Nine Inch Nails)
Sampling of noise textures in hip-hop production (Death Grips, clipping.)
Noise music featured in art house and experimental films
Growing presence of noise artists at major music festivals and art exhibitions
Noise music challenges traditional notions of musicianship and composition
Live performances often blur the line between music and performance art
Improvisation in noise music
Many noise artists prioritize spontaneity and in-the-moment creation
Collaborative improvisations between multiple performers create complex, unpredictable soundscapes
Use of chance operations and aleatory techniques to generate unexpected results
Emphasis on physical gesture and interaction with instruments/devices during performance
Noise music installations
Sound art installations in galleries and public spaces explore noise as a spatial experience
Interactive noise installations allow audience participation in sound creation
Long-duration noise works challenge notions of time and attention in art
Site-specific noise projects respond to and incorporate environmental sounds
Collaborative noise projects
Noise artists often form temporary collaborations for recordings or live performances
Online platforms enable remote collaboration and file-sharing between noise musicians
Noise "orchestras" bring together large groups of performers for massive sonic events
Cross-disciplinary projects combine noise music with dance, visual art, or theater
Critical reception
Noise music has been both celebrated and criticized for its radical approach
Academic interest in noise music has grown alongside its cultural impact
Academic perspectives
Musicologists analyze noise music's relationship to avant-garde traditions
Cultural theorists examine noise as a form of resistance to mainstream culture
Sound studies scholars investigate the perception and phenomenology of noise
Ethnomusicologists explore noise music practices in different cultural contexts
Controversy and censorship
Extreme content in some noise music has led to censorship and bans
Power electronics artists face criticism for provocative and offensive themes
Noise performances have been shut down due to volume complaints or perceived public disturbance
Debates over the artistic merit of noise music continue in critical discourse
Noise music vs traditional music
Challenges Western notions of musical skill and virtuosity
Questions the boundaries between music, sound art, and noise
Explores the physicality of sound beyond traditional musical parameters
Provokes discussions about the nature of listening and audience expectations
Philosophical aspects
Noise music raises fundamental questions about the nature of sound, music, and art
The genre engages with broader cultural and philosophical ideas
Noise as cultural critique
Rejection of musical conventions as a metaphor for challenging societal norms
Noise as a response to information overload and media saturation
Exploration of sensory limits and human perception through extreme sound
Critique of consumer culture through the use of repurposed technology and found objects
Aesthetics of noise
Reevaluation of beauty and ugliness in sound
Exploration of the sublime through overwhelming sonic experiences
Concept of "anti-music " as a form of artistic expression
Influence of Futurist and Dadaist ideas on noise music aesthetics
Relationship between noise, signal, and meaning in communication
Exploration of entropy and chaos in sound composition
Noise music as a reflection of complex systems and emergent phenomena
Connections between noise music and concepts from cybernetics and systems theory
Contemporary developments
Noise music continues to evolve and adapt to new technologies and cultural contexts
The genre's influence can be seen in various forms of experimental and popular music
Digital noise music
Use of digital audio workstations and software synthesizers for noise creation
Exploration of glitch aesthetics and data corruption as compositional techniques
Online streaming platforms enable wider distribution of noise music
Virtual reality and spatial audio technologies offer new possibilities for immersive noise experiences
Noise fusion genres
Incorporation of noise elements into other musical styles (noise rock, noisecore)
Crossover between noise and experimental electronic music scenes
Harsh noise combined with ambient and drone music (Prurient, Tim Hecker)
Noise techniques adopted by avant-garde composers in contemporary classical music
Noise music festivals
Dedicated noise music festivals held worldwide (No Fun Fest , Noise Fest Tokyo)
Noise artists featured at experimental music festivals (Unsound, CTM Festival)
Growth of online noise music festivals and streaming events
DIY noise scenes organize local shows and community events