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{{short description|Experimental rock music mixed with noise}}
{{multiple issues|
{{about|the specific genre|the general application of noise in rock music|Noise in music#Rock music|and|Noise music#Noise rock and no wave}}
{{refimprove|date=December 2013}}
{{unreliable sources|date=December 2013}}
{{original research|date=August 2016}}
{{Use mdy dates|date=February 2024}}
{{lead too long|date=August 2016}}
}}
{{Infobox music genre
{{Infobox music genre
| name = Noise rock
| name = Noise rock
| color = white
| native_name =
| bgcolor = crimson
| etymology =
| other_names = Noise punk
| stylistic_origins = {{hlist|[[Experimental rock]]|[[Noise music|noise]]|[[punk rock]]|[[garage rock]]|[[Avant-garde music|avant-garde]]|[[no wave]]|[[krautrock]]|[[psychedelic rock]]|[[avant-garde jazz]]}}
| image = Flipper 930club.jpg
| cultural_origins = Late 1970s, United Kingdom, United States and Australia
| alt =
| instruments = {{hlist|[[Singing|Vocals]]|[[electric guitar]]|[[Bass guitar|bass]]|[[Drum kit|drums]]|[[electronic musical instrument|electronics]]}}
| derivatives = {{hlist|[[Grindcore]]|[[grunge]]|[[industrial rock]]|[[post-hardcore]]}}
| caption = [[Flipper (band)|Flipper]] at the [[9:30 Club]], [[Washington, D.C.]], 1984
| fusiongenres = [[Noise pop]]
| stylistic_origins = * [[Experimental rock]]
* [[punk rock]]
| regional_scenes = {{hlist|[[Japanese noise rock|Japan]]|Providence|Rhode Island}}
* [[noise music|noise]]
| other_topics =
* [[Alternative rock]]
* [[minimal music|minimal]]
* [[psychedelic rock]]
* [[acid rock]]
* [[industrial music|industrial]]
* [[industrial music|industrial]]
* [[hardcore punk]]<ref name="quietus">{{cite web|url=http://thequietus.com/articles/19954-noise-rock-1986-big-black-sonic-youth-butthole-surfers|title=The Sound Of Impact: Noise Rock In 1986|first=Noel|last=Gardner|publisher=The Quietus|date=March 30, 2016|access-date=September 30, 2017}}</ref>
| cultural_origins = {{circa|Mid-1960s}} to 1980s, [[New York City]], United States
| derivatives = *[[Grunge]]
*[[post-hardcore]]
| subgenres =
| fusiongenres =
| regional_scenes =
| local_scenes =
| other_topics = * [[Alternative rock]]
* [[avant-punk]]
* [[indie rock]]
* [[noise pop]]
* [[post-punk]]
* [[post-punk]]
* [[powerviolence]]
* [[no wave]]
* [[shoegazing]]
* [[mathcore]]
* [[grindcore]]
}}
}}


'''Noise rock''' (sometimes called '''noise punk'''){{sfn|Felix|2010|p=172}} is a [[noise music|noise]]-oriented style of [[experimental rock]]<ref name="Osborn2011">{{cite journal|last1=Osborn|first1=Brad|title=Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres*|journal=[[Music Theory Online]]|url=http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.html|date=October 2011|volume=17|issue=3|doi=10.30535/mto.17.3.4 |doi-access=free|hdl=1808/12360|hdl-access=free}}</ref> that spun off from [[punk rock]] in the 1980s.<ref name="AllMusicNR">{{cite web|title=Noise Rock|url=http://www.allmusic.com/style/noise-rock-ma0000004455|website=[[AllMusic]]|access-date=March 11, 2017}}</ref><ref name="Treblezine"/> Drawing on movements such as [[minimal music|minimalism]], [[industrial music]], and [[New York hardcore]],{{sfn|Blush|2016|p=266}} artists indulge in extreme levels of distortion through the use of [[electric guitar]]s and, less frequently, [[electronic instrument]]ation, either to provide percussive sounds or to contribute to the overall arrangement.<ref name="AllMusicNR"/>
'''Noise rock''' is a style of [[experimental rock]]<ref name="Osborn2011">{{cite journal|last1=Osborn|first1=Brad|title=Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres*|journal=[[Music Theory Online]]|url=http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.html|date=October 2011|volume=17|issue=3}}</ref> rooted in [[noise music]]. The genre, which gained prominence in the 1980s, makes use of the traditional instrumentation and iconography of [[rock music]], but incorporates [[atonality]] and especially [[consonance and dissonance|dissonance]], and frequently discards typical songwriting conventions.<ref name=spin>Ben Sisario, "The Art of Noise", ''Spin'', December 2, 2004. [http://www.spin.com/articles/art-noise] Access date: August 24, 2008. In this article, Ben Sisario calls Lightning Bolt key players in noise rock. Formed in 1994 at RISD, Lightning Bolt released three albums for Providence. Another bands mentioned include the trio Wolf Eyes & and Arab on Radar. According to Sisario, the genre origins lie in the industrial of English group Throbbing Gristle and the noise of Japanese acts Merzbow and The Boredoms. Historically -says Sisario- noise rock had been narrow in sound, with Swans & Live Skull being stiff and humorless; more modern bands such The Locust, Lightning Bolt, and Pink and Brown ham it up by wearing absurd masks and costumes.</ref><ref name=amg>Allmusic Genre: Noise rock. [{{Allmusic|class=explore|id=style/d2925|pure_url=yes}}] Access date: August 25, 2008. According to Allmusic, noise rock grew out of punk rock and was later brought to a wider alternative audience when pioneers Sonic Youth began to incorporate melody into their droning sound. Some bands like the Swans and Big Black, however, took a much darker, more threatening approach, while other bands as Royal Trux, Pussy Galore and Butthole Surfers used guitar noise to create a dirty, decadent and repulsive atmosphere.</ref><ref name=faq>Georg Cracked, Noise Rock FAQ, April 2002- January 2008. [http://www.monochrom.at/cracked/music/noiserockfaq.htm] Access date: August 25, 2008.</ref> Noise rock developed from early [[avant-garde]] music, [[sound art]], and rock songs featuring extremely dissonant sounds and electronic [[audio feedback|feedback]]. The New York [[no wave]] scene, featuring such artists as [[Mars (band)|Mars]] and [[Teenage Jesus and the Jerks]] in the late 1970s, was an essential development in noise rock.<ref name="ReferenceA">"No Wave", Allmusic. [{{Allmusic|class=explore|id=style/d2691|pure_url=yes}}] Access date: August 25, 2008.</ref> A number of noise rock bands emerged in [[North America]] in the 1980s. These included [[Caroliner]], and [[Grotus]] (San Francisco), [[Big Black]]<ref name=amg/><ref name=faq/> (Chicago), [[Butthole Surfers]],<ref name=amg/><ref name=faq/> [[The Jesus Lizard]],<ref name=faq/><ref name="ReferenceB">Stephen Thomas Erlewine, Jesus Lizard bio, Allmusic. [{{Allmusic|class=artist|id=p13331|pure_url=yes}}] Access date: August 25, 2008.</ref> [[Scratch Acid]]<ref name="ReferenceC">Will Lerner, Scratch Acid, ''The Greatest Gift'' review, Allmusic. [{{Allmusic|class=album|id=r17567|pure_url=yes}}] Access date: August 25, 2008.</ref> (Texas), [[The Melvins]]<ref name=faq/><ref>Patrick Kennedy, Melvins, ''Honky'' review, Allmusic. [{{Allmusic|class=album|id=r276302|pure_url=yes}}] Access date: August 26, 2008.</ref> (Montesano, Washington), [[Dinosaur Jr.]] (Massachusetts), [[Sonic Youth]],<ref name=spin/><ref name=amg/> [[Live Skull]], [[Swans (band)|Swans]],<ref name=spin/><ref name=amg/> [[White Zombie (band)|White Zombie]],<ref name=spin/><ref name=amg/> The Thing, Blow 454 and [[Helmet (band)|Helmet]]<ref name=faq/><ref>Jason Birchmeier, Helmet, Strap It On review, Allmusic. [{{Allmusic|class=album|id=r9189|pure_url=yes}}] Access date: August 26, 2008.</ref> (New York), [[Laughing Hyenas]] (Michigan), [[Pussy Galore (band)|Pussy Galore]]<ref name=amg/> and [[Royal Trux]]<ref name=amg/> (Washington DC), among many others.


Some groups are tied to song structures, such as [[Sonic Youth]]. Although they are not representative of the entire genre, they helped popularize noise rock among [[alternative rock]] audiences by incorporating melodies into their droning textures of sound, which set a template that numerous other groups followed.<ref name="AllMusicNR"/> Other early noise rock bands were [[Big Black]], [[Swans (band)|Swans]] and [[the Jesus Lizard]].
A similar scene also began to develop in [[Osaka]], Japan, spearheaded by [[Hanatarash]] and the [[Boredoms]],<ref name=spin/><ref name="thememagazine.com">Andrew Parks, "Boredoms Explore the Void", ''Theme'', Fall 2006. [http://www.thememagazine.com/stories/boredoms/] Access date: August 26, 2008.</ref> The British [[shoegazing]] groups developed an entirely distinct form of noise rock, largely derived from the so-called [[noise pop]] related genre.<ref name=NoisepopAM>[http://www.allmusic.com/explore/style/noise-pop-d4558 "Noise pop"], ''Allmusic'', retrieved 4 September 2011.</ref> Some [[math rock]] groups like [[Don Caballero]] and [[Hella]] are also considered noise rock.<ref>Steve Huey, Don Caballero bio, Allmusic. [{{Allmusic|class=artist|id=p142560|pure_url=yes}}] Access date: August 27, 2008.</ref> The 1980s noise rock bands were significant influences on [[Nirvana (band)|Nirvana]]<ref>Stephen Thomas Erlewine & Greg Prato, Nirvana bio, Allmusic. [{{Allmusic|class=artist|id=p5034|pure_url=yes}}] Access date: August 27, 2008.</ref> and [[Hole (band)|Hole]],<ref name=faq/><ref>Stephen Thomas Erlewine, Pretty On the Inside review, Allmusic. [{{Allmusic|class=album|id=r9410|pure_url=yes}}] Access date: August 27, 2008.</ref> The [[powerviolence]] scene was close to noise rock, with [[Man Is the Bastard]] eventually dissolving into unstructured [[noise music]].<ref name="alien8recordings.com">Alien 8, Bastard Noise description, January 1, 2000. [http://www.alien8recordings.com/releases/the-analysis-of-self-destruction] Access date: August 27, 2008.</ref>


== Characteristics ==
Beginning in the mid-1990s, [[Providence, Rhode Island|Providence]] became the center of a new crop of noise-rock bands, largely a product of the [[Rhode Island School of Design|RISD]] scene.<ref name=spin/> After 2000, noise rock groups formed all over the world. Post 2000 noise rock often features [[Tribal rhythms|tribal]] [[polyrhythm]]ic drum patterns. Noise rock groups that formed after 2010 include [[Roomrunner]], [[Dope Body]], [[Nü Sensae]], [[METZ]], [[Disappears]], [[Dumb Numbers]], as well as new Japanese acts such as [[Nisennenmondai]] and [[Bo Ningen]].
Noise rock fuses [[Rock music|rock]] to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of [[atonality]], improvisation, and [[white noise]]. One notable band of this genre is Sonic Youth, who took inspiration from the [[no wave]] composers [[Glenn Branca]] and [[Rhys Chatham]].<ref>[http://kalvos.org/chatham.html "Rhys Chatham"], ''Kalvos-Damien'' website. (Accessed October 20, 2009).</ref> Sonic Youth's [[Thurston Moore]] has stated: "Noise has taken the place of punk rock. People who play noise have no real aspirations to being part of the mainstream culture. Punk has been co-opted, and this subterranean noise music and the avant-garde folk scene have replaced it."<ref name="Sisario20042">{{cite web|url=http://www.spin.com/2004/12/art-noise/|title=The Art of Noise|date=December 2, 2004|website=[[Spin (magazine)|Spin]]|last1=Sisario|first1=Ben}}</ref>

==Style==
Noise rock is a [[genre]] of music descended from early [[avant-garde]] music and [[sound art]].<ref name=amg/> [[Sonic Youth]]'s [[Thurston Moore]] has said that {{cquote|Noise has taken the place of punk rock. People who play noise have no aspiration to become part of [[mainstream]] culture. Punk has been co-opted, and subterranean noise music and the avant-garde folk scene have replaced it.<ref name=spin/>}}

== Visual and conceptual elements ==
[[File:Albini atp.jpg|thumb|[[Steve Albini]]]]
Many noise rock groups have a confrontational performance style that mirrors the aggression of their music. This reaches back to [[The Who]] and [[Jimi Hendrix]], who were famous for destroying their instruments on stage.<ref name=mp>Martin Patrick, "Rock/Art", ''Art Monthly'', issue 276, May 2004. [http://www.artmonthly.co.uk/mpatrick.htm] Access date: August 25, 2008.</ref> Other artists such as [[Iggy Pop]], of [[the Stooges]], and [[Darby Crash]], of [[Germs (band)|The Germs]], lacerated their own bodies during performances.<ref>Stephen Thomas Erlewine & Mark Deming, The Stooges, Allmusic bio. [{{Allmusic|class=artist|id=p143693|pure_url=yes}}] Access date: August 25, 2008.</ref><ref name=germs>John Dougan, The Germs, Allmusic bio. [{{Allmusic|class=artist|id=p4358|pure_url=yes}}] Access date: August 25, 2008.</ref>

1980s noise rock musicians tended to adopt a simple, utilitarian mode of dress influenced by the [[hardcore punk]] ethos as a rejection of the more ostentatious elements of [[punk fashion]]. [[Steve Albini]] articulated an ethical stance that emphasized restraint, [[irony]], and self-sufficiency.<ref>Azerrad, "Big Black", p. 312-345.</ref> The [[Butthole Surfers]] were an exception as they dressed as bizarrely as possible.<ref name=bs>Azerrad, "Butthole Surfers", p. 274-311.</ref> Several bands also made public references to drug use, particularly [[Lysergic acid diethylamide|LSD]] (Jimi Hendrix, Butthole Surfers<ref name=bs/>) and [[heroin]] ([[The Velvet Underground]], [[Royal Trux]]<ref>John Dougan, Royal Trux, Allmusic bio. [{{Allmusic|class=artist|id=p23281|pure_url=yes}}] Access date: August 25, 2008.</ref>). Many contemporary noise rock musicians, such as [[The Locust]], [[Comparative Anatomy (band)|Comparative Anatomy]], and [[Lightning Bolt (band)|Lightning Bolt]], have a very theatrical performances and wear costumes.<ref name=spin/> Some bands incorporate visual displays, such as film or [[video art]].<ref name="bs"/>


==History==
==History==
[[File:Velvet Underground 1968 by Billy Name.png|thumb|180px|[[The Velvet Underground]] have been credited with creating the first noise rock album in 1968.]]
{{See also|Experimental rock|Punk rock|3=Grunge}}


===Precursors===
===Forerunners===
The origins of noise rock are rooted in rock songs featuring extremely dissonant sounds and electronic [[audio feedback|feedback]]. Examples of commercially successful figures that pioneered these elements include the Early [[Pink Floyd]], [[Grateful Dead]], [[Jimi Hendrix]],<ref>Richie Unterberger & Sean Westergaard, Jimi Hendrix, Allmusic Bio. [{{Allmusic|class=artist|id=p85934|pure_url=yes}}] Access date: August 25, 2008.</ref> [[The Who]],<ref>Richie Unterberger, ''The Who Sings My Generation'' review, Allmusic. [{{Allmusic|class=album|id=r21814|pure_url=yes}}] Access date: August 25, 2008.</ref> and [[Neil Young]].<ref>G.E. Light, " '90's Noise", Part 3 of 4, ''Perfect Sound Forever''. [http://www.furious.com/PERFECT/90snoise3.html] Access date: August 25, 2008.</ref> Underground rock musicians such as [[the Stooges]], [[the Velvet Underground]], and the [[MC5]] incorporated elements of [[free jazz]]<ref name=mp/> and [[minimalist music|minimalism]], notably The Velvet Underground's [[The Velvet Underground & Nico|self-titled debut]] and their second album, [[White Light/White Heat]], which incorporated free musicianship and drone sounds.<ref>Velvet Underground and Nico review, Rolling Stone, November 1, 2003. [http://www.rollingstone.com/news/story/6597640/13_the_velvet_underground] Access date: August 26, 2008.</ref> More obscure musicians, such as [[the Monks]],<ref>Richie Unterberger, The Monks, Allmusic bio. [{{Allmusic|class=artist|id=p19398|pure_url=yes}}] Access date: August 25, 2008.</ref> San Francisco's [[Fifty Foot Hose]],<ref>Richie Unterberger, Fifty Foot Hose, Allmusic bio. [{{Allmusic|class=artist|id=p17503|pure_url=yes}}] Access date: August 25, 2008.</ref> and Japan's [[Les Rallizes Dénudés]],<ref>Rolf Semprebon, Allmusic bio, [{{Allmusic|class=artist|id=p551687|pure_url=yes}}]. Access date: August 25, 2008.</ref> also incorporated the effects of dissonance. German [[Krautrock]] bands were also significant influences on noise rock, most notably [[Can (band)|Can]] and [[Faust (band)|Faust]].<ref name=spin/>

===1970s===
The New York [[no wave]] scene, featuring such artists as [[Mars (band)|Mars]] and [[Teenage Jesus and the Jerks]], which began to coalesce in 1978, was also an essential development in noise rock.<ref name="ReferenceA"/> While no wave included a variety of [[post-punk]], experimental tendencies, with different groups incorporating elements of [[free jazz]], [[Soul music|soul]], and [[disco]] into their performance, the most abrasive groups would find their innovations streamlined into noise rock tradition. [[Chrome (band)|Chrome]], from San Francisco, produced their own style of psychedelic punk that shared some common ground with the no wave groups.<ref>John Bush, Chrome, Allmusic bio. [{{Allmusic|class=artist|id=p12561|pure_url=yes}}] Access date: August 25, 2008.</ref> Australian noise rock also developed in the late 1970s.

===1980s===

A number of noise rock bands emerged from many different scenes in [[North America]] in the 1980s. These included [[Caroliner]], and [[Grotus]] (San Francisco), [[Big Black]]<ref name=amg/><ref name=faq/> (Chicago), [[Butthole Surfers]],<ref name=amg/><ref name=faq/> [[The Jesus Lizard]]<ref name=faq/><ref name="ReferenceB"/> [[Scratch Acid]]<ref name="ReferenceC"/> (Texas), [[The Melvins]]<ref name=faq/><ref>Patrick Kennedy, Melvins, ''Honky'' review, Allmusic. [{{Allmusic|class=album|id=r276302|pure_url=yes}}] Access date: August 26, 2008.</ref> (Montesano, Washington), [[Dinosaur Jr.]], [[Sonic Youth]],<ref name=spin/><ref name=amg/> [[Live Skull]], [[Swans (band)|Swans]],<ref name=spin/><ref name=amg/> [[White Zombie (band)|White Zombie]],<ref name=spin/><ref name=amg/> The Thing, and [[Helmet (band)|Helmet]]<ref name=faq/><ref>Jason Birchmeier, Helmet, Strap It On review, Allmusic. [{{Allmusic|class=album|id=r9189|pure_url=yes}}] Access date: August 26, 2008.</ref> (New York), [[Pussy Galore (band)|Pussy Galore]]<ref name=amg/> and [[Royal Trux]]<ref name=amg/> (Washington DC), among many others. These bands were initially referred to as "pigfuck" by [[Robert Christgau]],<ref>Christgau, Robert. "Township Jive Conquers the World: The 13th (or 14th) Annual Pazz & Jop Critics Poll". ''Village Voice''. March 3, 1987.</ref> in a reference to [[Bernardo Bertolucci|Bertolucci]]'s ''[[Last Tango in Paris]]'', though the increasingly melodic tendencies of many of these groups quickly rendered the tag misleading. The Minneapolis label [[Amphetamine Reptile Records|Amphetamine Reptile]]<ref name=faq/><ref>Bradley Torreano, Dope, Guns, ... vol. 1 review, Allmusic.[{{Allmusic|class=album|id=r23137|pure_url=yes}}] Access date: August 26, 2008.</ref> released a great deal of music in this tradition.

[[industrial music|Industrial]] groups (such as [[Throbbing Gristle]]) developed in parallel to, and sometimes in collaboration with, the noise rock groups.<ref name=spin/>

Many of these bands went on to temper the initial ferocity and amelodicism of their approach. IAO Core covered (and were influenced by) [[The Stranglers]],<ref name=amg/> Sonic Youth spoke highly of [[The Beatles]],<ref>Cameron Macdonald, Stylus Magazine, Ciccone Youth review, August 9, 2005. [http://www.stylusmagazine.com/articles/on_second_thought/ciccone-youth-the-whitey-album.htm] Access date: August 27, 2008.</ref> Pussy Galore covered (and were influenced by) [[The Rolling Stones]],<ref>Carly Carlioli, "Sleazy does it", The Boston Phoenix, April 16–23, 1998. [http://www.bostonphoenix.com/archive/music/98/04/16/PUSSY_GALORE.html] Access date: August 27, 2008.</ref> [[Black Flag (band)|Black Flag]] drew inspiration from [[Black Sabbath]],<ref>John Dougan, My War review, Allmusic. [{{Allmusic|class=album|id=r1966|pure_url=yes}}] Access date: August 27, 2008.</ref> and the Butthole Surfers worked with [[John Paul Jones (musician)|John Paul Jones]]<ref>Ned Raggett, Independent Worm Saloon review, Allmusic. [{{Allmusic|class=album|id=r169119|pure_url=yes}}] Access date: August 27, 2008.</ref> and emulated [[Jimi Hendrix]].<ref>Ned Raggett, Hairway to Steven review, Allmusic. [{{Allmusic|class=album|id=r3043|pure_url=yes}}] Access date: August 27, 2008.</ref>

Beginning in 1986, the British group [[Napalm Death]] created "[[grindcore]]" by melding the noise rock of Swans<ref>Mudrian, page 35.</ref> with [[hardcore punk]] and [[death metal]].<ref>Blush, Steven (1991). ''Grindcore''. ''Spin'', 7(3), p. 36.</ref> While later grindcore groups tended to move in the direction of death metal, American bands such as [[Anal Cunt]] continued in an extremely dissonant, freeform vein.<ref>"Grindcore", Allmusic. [{{Allmusic|class=explore|id=style/d393|pure_url=yes}}] Access date: August 27, 2008.</ref>

[[File:Melt-Banana 2005-11-29 22-54CET Frankfurt.jpg|thumb|left|[[Melt-Banana]]]]
A similar scene also began to develop in [[Osaka]], Japan, spearheaded by [[Hanatarash]] and the [[Boredoms]],<ref name=spin/><ref name="thememagazine.com"/> who composed extremely short, fast "songs", marked by blasts of rhythm (reflecting an influence from grindcore),<ref>Brad Jones, "Bore None", ''Denver Westword'', July 6, 1994. [www.westword.com/1994-07-06/music/bore-none/] Access date: August 26, 2008.</ref> screaming, and overloaded guitars. Boredoms singer [[Yamantaka Eye]] also worked with the New York City [[jazzcore]] group [[Naked City (band)|Naked City]].<ref>Bradley Torreano, Torture Garden review, Allmusic. [{{Allmusic|class=album|id=r144546|pure_url=yes}}] Access date: August 27, 2008.</ref> The Boredoms eventually evolved towards a far more meditative sound, taking inspiration from [[Krautrock]].<ref>Steve Huey, Boredoms bio, Allmusic. [{{Allmusic|class=artist|id=p3747|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Gore Beyond Necropsy]],<ref>Steve Huey, Noise a Go Go review, Allmusic. [{{Allmusic|class=album|id=r373373|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Ground Zero (band)|Ground Zero]],<ref name=faq/><ref>Joslyn Lane, Null and Void review, Allmusic. [{{Allmusic|class=album|id=r219160|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Zeni Geva]],<ref name=faq/><ref>Patrick Kennedy, Freedom Bondage review, Allmusic. [{{Allmusic|class=album|id=r227728|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Guitar Wolf]],<ref>Ned Raggett, Planet of the Wolves review, Allmusic. [{{Allmusic|class=album|id=r318800|pure_url=yes}}] Access date: August 27, 2008.</ref> and [[Melt-Banana]]<ref name=faq/><ref>Ben Tausig & Jason Lymangrover, Melt-Banana bio, Allmusic. [{{Allmusic|class=artist|id=p200036|pure_url=yes}}] Access date: August 27, 2008.</ref> extended the Japanese noise rock style. These bands also reflected the impact of the [[Japanoise]] scene pioneered by [[Merzbow]].<ref name=spin/>

The British [[shoegazing]] groups developed an entirely distinct form of noise rock, largely derived from the so-called [[noise pop]] related genre.<ref name="NoisepopAM"/> Taking equal inspiration from the [[dream pop]] groups, in addition to aggressive rock like [[The Jesus and Mary Chain]], [[The Telescopes]] and Sonic Youth, [[My Bloody Valentine (band)|My Bloody Valentine]] produced a warm, feminine, but also dissonant, formless and psychedelic genre that belongs in the noise rock tradition.<ref>Sean O'Hagan, ''The Observer'', May 18, 2008. [https://www.theguardian.com/music/2008/may/18/popandrock.electronicmusic] Access date: August 25, 2008.</ref>

Some [[math rock]] groups like [[Don Caballero]] are also considered noise rock.<ref>Steve Huey, Don Caballero bio, Allmusic. [{{Allmusic|class=artist|id=p142560|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Post-hardcore]],<ref>Jeff Terich, "Post-hardcore: The 90 Minute Guide", Treblezine, April 24, 2007. [http://www.treblezine.com/features/107.html] Access date: August 27, 2008.</ref> [[screamo]],<ref>Jason Heller, "Feast of Reason", Denver Westword, June 20, 2002. [http://www.westword.com/2002-06-20/music/feast-of-reason/print] Access date: August 27, 2008.</ref> and some [[riot grrl]] groups<ref>Stewart Mason, Bikini Kill review, Allmusic. [{{Allmusic|class=album|id=r203882|pure_url=yes}}] Access date: August 27, 2008.</ref> also take influence from noise rock.


While the music had been around for some time, the term "noise rock" was coined in the 1980s to describe an offshoot of punk groups with an increasingly abrasive approach.<ref name="Treblezine">{{cite web|last1=Terich|first1=Jeff|title=Hold On To Your Genre : Noise Rock|url=http://www.treblezine.com/hold-on-to-your-genre-noise-rock/|website=Treblezine|date=February 25, 2013 |access-date=March 29, 2021}}</ref> An archetypal album is [[the Velvet Underground]]'s ''[[White Light/White Heat]]'' (1968).<ref name=gross>{{cite journal|last1=Gross|first1=Joe|title=Essentials: Noise Rock |journal=[[Spin (magazine)|Spin]]|date=April 2007|volume=23|issue=4|url=https://books.google.com/books?id=AuTSBJnG06YC&pg=PA94}}</ref><ref name="Treblezine"/> ''Treblezine''{{'}}s Joe Gross credits ''White Light/White Heat'' as the "cult classic" with being the first noise rock album, accordingly, "perhaps it's an obvious starting point, but it's also the starting point. Period."<ref name="Treblezine" /> Influenced by the [[free jazz]] of [[Ornette Coleman]] Reed stated that:
===1990s===
The 1980s noise rock bands were significant influences on [[Nirvana (band)|Nirvana]]<ref>Stephen Thomas Erlewine & Greg Prato, Nirvana bio, Allmusic. [{{Allmusic|class=artist|id=p5034|pure_url=yes}}] Access date: August 27, 2008.</ref> and [[Hole (band)|Hole]],<ref name=faq/><ref>Stephen Thomas Erlewine, Pretty On the Inside review, Allmusic. [{{Allmusic|class=album|id=r9410|pure_url=yes}}] Access date: August 27, 2008.</ref> and as a result had some mainstream currency during the period when [[grunge]] was played on the radio.<ref>{{cite news| url=http://www.nytimes.com/1992/06/14/arts/pop-view-nirvana-bes-awaiting-fame-s-call.html?pagewanted=all&src=pm | work=New York Times | title=POP VIEW; Nirvana-bes Awaiting Fame's Call | date=1992-06-14 | accessdate=2011-11-07 | first1=Jon | last1=Pareles}}</ref> Nirvana's album ''[[In Utero (album)|In Utero]]'' is particularly evident in its debts to 1980s noise rock, and was produced by [[Big Black]] frontman and noise rock icon [[Steve Albini]].<ref name=faq/><ref>Stephen Thomas Erlewine, In Utero review, Allmusic. [{{Allmusic|class=album|id=r185088|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Industrial metal]] groups, such as [[Ministry (band)|Ministry]],<ref>Ned Raggett, Psalm 69 review, Allmusic. [{{Allmusic|class=album|id=r74877|pure_url=yes}}] Access date: August 27, 2008.</ref> [[Nine Inch Nails]],<ref>Steve Huey, Broken review, Allmusic. [{{Allmusic|class=album|id=r58506|pure_url=yes}}] Access date: August 27, 2008.</ref> and [[White Zombie (band)|White Zombie]],<ref>Bradley Torreano, Psycho-Head Blowout review, Allmusic. [{{Allmusic|class=album|id=r215852|pure_url=yes}}] Access date: August 27, 2008.</ref> were also indebted to noise rock.


{{quote|"I thought, you put [[Hubert Selby]] with [[William S. Burroughs|Burroughs]] or [[Allen Ginsberg|Ginsberg]] lyrics against some rock with these kind of harmonic [ideas] going in … wouldn't you have something?"<ref>{{Cite magazine |last=Shteamer |first=Hank |date=2019-05-22 |title=Flashback: Ornette Coleman Sums Up Solitude on 'Lonely Woman' |url=https://www.rollingstone.com/music/music-news/ornette-coleman-lonely-woman-lou-reed-837918/ |access-date=2023-04-20 |magazine=Rolling Stone |language=en-US}}</ref>}}
In 1992, [[Melt-Banana]] started in Japan, afterwards being picked up by [[John Zorn]] and Steve Albini and became a known act in [[Europe]] and the United States at the end of the nineties and a famous example of ultra fast noise rock. In France, [[Diabologum]] experimented with a mixture of [[dada]]ist collages and noisy rock. English [[Power electronics (music)|power electronics]] band [[Ramleh (band)|Ramleh]] also started to experiment with rock music structures in the early 1990s,<ref>{{cite journal | url=https://books.google.com/books?id=qyFMAAAAYAAJ&q=ramleh+%22noise+rock%22&dq=ramleh+%22noise+rock%22&hl=tr&sa=X&ei=zahBU5jmAcrd4QTV44DoBQ&ved=0CC0Q6AEwAA | title=Ramleh - Too Many Miles | journal=[[The Wire (magazine)|The Wire]] | year=2002 | volume=221-226 | pages=73}}</ref> laying foundation for "[[Free improvisation|improvisational]] noise rock."<ref name="trouser">{{cite web | url=http://www.trouserpress.com/entry.php?a=ramleh | title=Ramleh | publisher=[[Trouser Press]] | accessdate=April 6, 2014 | author=Perdue, Everett Jang}}</ref>


[[Les Rallizes Dénudés|Les Rallizes Denudés]] quickly adopted the noise elements developed by the Velvet Underground in ''[[White Light/White Heat]]'' and ''[[The Velvet Underground & Nico]]'' by creating long improvisational songs based on feedback and the use of heavy distortion. The band moved toward an increasingly noise based sound in the 1970s, influencing a great number of artists in the [[Japanoise|Japanese noise]] and [[psychedelic rock]] scene.<ref>{{cite web | url=https://medium.com/@matthewpenner21/les-rallizes-d%C3%A9nud%C3%A9s-japans-noise-pioneers-25f0ddab3644 | title=Les Rallizes Dénudés: Japan's Noise Pioneers | date=January 21, 2020 }}</ref>{{self-published source|date=July 2023}}
The [[powerviolence]] scene was close to noise rock, with [[Man Is the Bastard]] eventually dissolving into unstructured [[noise music]].<ref name="alien8recordings.com"/> [[The Locust]] also picked up from Man Is The Bastard and created a synth-driven powerviolence sound they have taken to a more noise drone on their latest album ''[[New Erections]]''. Contemporaneous groups like [[Neurosis (band)|Neurosis]]<ref>John Serba, Neurosis and Jarboe review, Allmusic. [{{Allmusic|class=album|id=r663097|pure_url=yes}}] Access date: August 27, 2008.</ref> and [[Today Is the Day]]<ref name=faq/><ref>Patrick Kennedy, Supernova review, Allmusic. [{{Allmusic|class=album|id=r274935|pure_url=yes}}] Access date: August 27, 2008.</ref> began to blend noise rock with [[extreme metal]]. Many of the resulting innovations have been incorporated by the more experimental practitioners of [[metalcore]], such as [[Converge (band)|Converge]],<ref>Christopher Dare, Jane Doe review, Pitchfork, July 3, 2002. [http://www.pitchforkmedia.com/article/record_review/16306/Converge_Jane_Doe] Access date: August 28, 2008.</ref> [[Botch (band)|Botch]],<ref>Ryan J. Downey, Botch bio, Allmusic. [{{Allmusic|class=artist|id=p366056|pure_url=yes}}] Access date: August 28, 2008.</ref> and [[Dillinger Escape Plan]].<ref>Jason Hundey, Calculating Infinity review, Allmusic. [{{Allmusic|class=album|id=r433106|pure_url=yes}}] Access date: August 28, 2008.</ref>


The 1960s groups [[Red Krayola]], [[Cromagnon (band)|Cromagnon]], and [[Nihilist Spasm Band]] are other bands that were later assessed by some music critics and journalists to be early pioneers of what would become noise rock.<ref>{{cite web | url=https://www.allmusic.com/album/the-parable-of-arable-land-mw0000274607 | title=The Red Crayola, the Red Krayola - the Parable of Arable Land Album Reviews, Songs & More &#124; AllMusic | website=[[AllMusic]] }}{{cite web | url=https://www.allmusic.com/album/orgasm-mw0000619006 | title=Cromagnon - Orgasm Album Reviews, Songs & More &#124; AllMusic | website=[[AllMusic]] }}{{Cite web |title=No Record - Record Collector Magazine |url=https://recordcollectormag.com/reviews/album/record |access-date=May 4, 2023 |language=en}}{{cite web |date=February 10, 2017 |title=The Nihilist Spasm Band invented noise rock in 1965 |url=https://dangerousminds.net/comments/the_nihilist_spasm_band_invented_noise_rock_in_1965}}</ref>
[[File:Ries-03.jpg|thumb|150px|[[Lightning Bolt (band)|Lightning Bolt]]]]
Beginning in the mid-1990s, [[Providence, Rhode Island|Providence]] became the center of a new crop of noise-rock bands, largely a product of the [[Rhode Island School of Design|RISD]] scene.<ref name=spin/> These groups tended to owe less to traditional rock song structures, and were more minimal and drone-like. These included [[Lightning Bolt (band)|Lightning Bolt]],<ref name=spin/> [[Arab on Radar]],<ref name=spin/> [[Six Finger Satellite]],<ref>Will Lerner, Severe Exposure review, Allmusic. [{{Allmusic|class=album|id=r223325|pure_url=yes}}] Access date: August 28, 2008.</ref> and [[Pink and Brown]].<ref>Daphne Carr, Shame Fantasy II review, Allmusic. [{{Allmusic|class=album|id=r637108|pure_url=yes}}] Access date: August 28, 2008.</ref> [[Black Dice]]<ref name=spin/> were originally part of this scene, but moved to Brooklyn, where they aligned themselves with groups like [[Gang Gang Dance]].<ref>Jo-Ann Greene, God's Money review, Allmusic. [{{Allmusic|class=album|id=r733438|pure_url=yes}}] Access date: August 28, 2008.</ref> As journalist Marc Masters puts it, these groups "trafficked in a kind of art school version of 90's scum rock, mixing in overloaded effects, damaged electronics, and gimmicks like masks and in-mouth mics."<ref>Marc Masters, "The Decade in Noise," ''Pitchfork'', September 14, 2009. [http://pitchfork.com/features/articles/7702-the-decade-in-noise/] Access date: November 19, 2009.</ref> These groups were also related, in part, to the San Diego scene that emerged from [[screamo]], most famously [[The Locust]],<ref name=spin/> and to [[Wolf Eyes]],<ref name=spin/> from [[Ann Arbor, Michigan]].


===Origins===
Noise rock also spread into the [[Southern United States|American South]] with bands such as the [[Ed Kemper Trio]] from [[Montgomery, Alabama]]. Heavily influenced by the sound of [[SST Records|SST]] and [[Touch and Go Records|Touch and Go]], Ed Kemper Trio was the focus of the 2004 documentary ''People Will Eat Anything''. [[Harry Pussy]] and [[To Live and Shave in L.A.]] formed in the early 1990s in [[Miami, Florida]].
[[File:Sonic Youth (1987 Monica Dee portrait).jpg|thumb|left|alt=|[[Sonic Youth]] in a publicity photo issued by SST to promote their fourth album, ''[[Sister (Sonic Youth album)|Sister]]'' (1987). Left to right: Shelley, Ranaldo, Moore, Gordon.]]


Guitarist [[Steve Albini]] of noise rock band [[Big Black]] stated in 1984 in an article that "good noise is like orgasm". He commented: "Anybody can play notes. There's no trick. What is a trick and a good one is to make a guitar do things that don't sound like a guitar at all. The point here is stretching the boundaries."<ref name=matter>Albini, Steve. (September - October 1984). "Tired of Ugy Fat ?". ''Matter [a Music Magazine]'' (10).</ref> He said that [[Ron Asheton]] of [[the Stooges]] "made squealy death noise feedback" on "[[Iggy Pop|Iggy]]'s monstruous songs".<ref name=matter /> Albini also mentioned [[John McKay (musician)|John McKay]] of [[Siouxsie and the Banshees]], saying: "''[[The Scream (album)|The Scream]]'' is notable for a couple of things: only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs".<ref name=matter /> Albini also said that [[Keith Levene]] of [[Public Image Ltd]] had this "ability to make an excruciating noise come out of his guitar".<ref name=matter />
In [[Finland]] the band [[Radiopuhelimet]] that came out of the ashes of the experimental [[hardcore punk]] band Kansanturvamusiikkikomissio in the late 1980s had some small-time international recognition when they released a compilation [[Extended play|EP]] called ''Hygiene'' on [[Alternative Tentacles]] records.


In an article about noise rock, ''[[Spin (magazine)|Spin]]'' wrote that a US compilation album titled ''[[No New York]]'', released in 1978 on an independent label called "Antilles", was important as it documented the [[no wave]] [[New York City|New York]] scene. It featured several songs of [[Lydia Lunch]]'s first band [[Teenage Jesus and the Jerks]] along with material of other groups [[Mars (band)|Mars]], [[DNA (American band)|DNA]] and [[James Chance and the Contortions]].<ref name=gross />
[[Mike Patton]]<ref>Greg Prato, Fantômas review, Allmusic. [{{Allmusic|class=album|id=r413799|pure_url=yes}}] Access date: August 28, 2008.</ref> is also an advocate of the noise rock scene, maintaining the label [[Ipecac Recordings|Ipecac]].<ref>David Downs, "Orinda's Noise Vomitorium". East Bay Express, January 17, 2007. [http://www.eastbayexpress.com/music/orinda_s_noise_vomitorium/Content?oid=354908] Access date: August 28, 2008.</ref>


===2000s===
===Music===
In the 1980s, Big Black, Sonic Youth and [[Swans (band)|Swans]] were the leading figures of noise rock.<ref name="quietus" /> Sonic Youth were the first noise rock band to get signed by a major label in 1990.<ref>{{cite web|url=https://pitchfork.com/features/interview/6199-sonic-youth/|title=Sonic Youth|publisher=Pitchfork|first=Julianne |last=Escobedo Shepherd |date=November 19, 2005|access-date=March 29, 2021}}</ref> [[The Jesus Lizard]] emerged in the early 1990s as a "leading noise rock band" in the American scene with their "willfully abrasive and atonal" style.<ref name=all>{{cite web|url=http://allmusic.com/artist/the-jesus-lizard-p13331|title=The Jesus Lizard – AllMusic|author=Erlewine, Stephen Thomas|website=[[AllMusic]]|access-date=September 5, 2012}}</ref> Later notable bands of the noise scene were [[Liars (band)|Liars]], [[Season to Risk]]<ref>{{cite web | url=https://www.digmeoutpodcast.com/episode/505-in-a-perfect-world-by-season-to-risk | title=Dig Me Out 505: Season to Risk - in a Perfect World }}</ref> and [[Unsane (band)|Unsane]].<ref>{{cite web|url=https://thequietus.com/articles/19929-the-best-noise-rock-albums-reviewed|title=Quietus Writers' Top 40 Noise Rock Tracks|publisher=The Quietus |date=March 29, 2016|access-date=March 29, 2021}}</ref>
After 2000, noise rock groups formed all over the world. These included [[mclusky]], [[Scarling.|Scarling]], [[Black Dice]], [[An Albatross]], [[Deerhunter]], [[The Death Set]], [[Oneida (band)|Oneida]], [[Parts and Labor]], [[Fuck Buttons]], [[Indian Jewelry]], [[Yuck (band)|Yuck]], [[Health (band)|Health]], [[Neptune (band)|Neptune]], [[Fiasco (band)|Fiasco]], Aa (Big A Little a), [[Kyle Justin Hamm|Skeleteen]], Girls in Love, [[Magik Markers]], Mohamed UFO, [[Mindflayer (band)|Mindflayer]], [[Part Chimp]], [[Japanther]], and [[Hella (band)|Hella]]. In San Francisco, some of the numerous examples include [[Deerhoof]], [[Boxleitner]], [[Erase Errata]], So So Many White White Tigers, Total Shutdown, [[Numbers (band)|Numbers]], Crack: We Are Rock, Burmese, and Pink & Brown. More examples of modern noise rock bands include [[No Age]] and [[Foot Village]] based in Los Angeles, [[Double Dagger]], The New Flesh, and [[Ponytail (band)|Ponytail]] from Baltimore, The Lowdown from Santa Cruz,<ref>http://www.burnmyeye.com/</ref> [[The Intelligence (band)|The Intelligence]] from Seattle, [[Pre (band)|Pre]], [[Part Chimp]], [[Male Bonding (band)|Male Bonding]], and Action Beat from the UK, The Maharajah Commission from [[Malaysia]],<ref>http://othersounds.sg/news/tour/congress-of-weird-fools-part-iii-gangly-youth-and-the-maharajah-commission/.</ref> [[Japandroids]] from Vancouver, and [[AIDS Wolf]] from Montreal. In 2007, San Francisco's IAO Core announced that after 23 studio albums, they would only release recordings of their live performances, many of which are ritually located and time or date specific, and often several hours long. Experimental luthier [[Yuri Landman]] has experimented with a variety of [[extended techniques]], with instruments created for the benefit of numerous groups in the scene, including [[Sonic Youth]], [[Lightning Bolt (band)|Lightning Bolt]], [[Liars (band)|Liars]], and [[Jad Fair]].


While noise rock has never had any mainstream popularity, the raw, distorted and feedback-intensive sound of some noise rock bands had an influence on [[shoegaze]], which enjoyed some popularity in the 90s, especially in the UK, and [[grunge]], the most commercially successful. Among them are [[Wisconsin]]'s [[Killdozer (band)|Killdozer]], [[Chicago]]'s [[Big Black]], and most notably [[San Francisco]]'s [[Flipper (band)|Flipper]], a band known for its slowed-down and murky "noise punk". The [[Butthole Surfers]]' mix of [[Punk rock|punk]], [[Heavy metal music|heavy metal]] and noise rock was a major influence, particularly on the early work of [[Soundgarden]].<ref>{{cite book | last =Azerrad | first =Michael | author-link =Michael Azerrad | title =Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991 | publisher =Little, Brown | year =2001 | pages=439 }}</ref>
The post 2000 noise rock often features [[Tribal rhythms|tribal]] [[polyrhythm]]ic drum patterns. Recent bands have carried on older traditions while branching out and furthering their theatrics. Bands such as [[Comparative Anatomy (band)|Comparative Anatomy]], Lightning Bolt, and [[The Locust]] are known for wearing outlandish costumes.<ref name=spin/>
[[File:Comparativeanatomyband1.jpg|thumb|250px|[[Comparative Anatomy (band)|Comparative Anatomy]]]]


Starting in the 1990s, noise punk developed mostly as a form of party music, with the band [[Lightning Bolt (band)|Lightning Bolt]] serving as key players in the 2000s noise punk scene in [[Providence, Rhode Island]], although Brian Gibson, the band's bassist, is dismissive of the noise punk label, stating "I hate, hate, hate the category "noise-punk" I really don't like being labeled with two words that have so much baggage. It's gross."<ref name="Sisario2004">{{cite web|last1=Sisario|first1=Ben|title=The Art of Noise|url=http://www.spin.com/2004/12/art-noise/|website=[[Spin (magazine)|Spin]]|date=December 2, 2004}}</ref><ref>{{cite web|url=http://web.mac.com/labann/Ri_Arts_Review/Bolt_on_Bolt.html|access-date=April 11, 2009 |last=Labaan |title=Lightning Bolt: Interview with the Brians}}{{dead link|date=November 2016 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
===2010s===
More recent noise rock that came up past 2010 are [[Roomrunner]], [[Dope Body]], [[Body/Head]], [[Iceage]], [[Guerilla Toss]], [[Perfect Pussy]], Fight Amp, [[Whores (band)]]
, Grizzlor, Shot in the Head (S.I.T.H.), Kowloon Walled City, [[METZ]], [[Dumb Numbers]], as well as new Japanese acts such as [[Nisennenmondai]], {{Nihongo|Akai Kouen|赤い公園}},<ref>http://www.nextmusicfromtokyo.com/?page_id=2529</ref> and ZZZ's.
{{Expand section|date=April 2014}}


== Labels ==
==See also==
* [[List of noise rock bands]]
The following is a list of record labels that specialize in noise rock.
* [[List of noise musicians]]
{{col-begin}}
{{col-3}}
* [[Amphetamine Reptile Records]]
* [[Atypeek Music]]
* [[Bad Vugum]]
* [[Blast First]]
* [[Bulb Records]]
* [[Ecstatic Peace!]]
* [[Gold Standard Laboratories]]
{{col-3}}
* [[Grazhdanskaya Oborona]]
* [[Homestead Records]]
* [[In the Red Records]]
* [[Ipecac Recordings]]
* [[Load Records]]
* Lo-Fi Eyed Records
{{col-3}}
* [[Narnack Records]]
* [[Silent Explosion]]
* [[Skin Graft Records]]
* [[Sonic Youth Recordings|SYR]]
* [[Three One G]]
* [[Touch and Go Records]]
* [[Hanson Records]]
{{Col-end}}


==References==
==References==
{{reflist|2}}
{{reflist}}


== Bibliography ==
==Sources==
* {{cite book|last=Blush|first=Steven|author-link=Steven Blush|title=New York Rock: From the Rise of The Velvet Underground to the Fall of CBGB|url=https://books.google.com/books?id=ezTpDAAAQBAJ&pg=PA266|year=2016|publisher=[[St. Martin's Press]]|isbn=978-1-250-08361-6}}
[[Miguel Álvarez-Fernández|Álvarez-Fernández, Miguel]] (2005). ''[http://www.hz-journal.org/n9/fernandez.html Dissonance, Sex and Noise: (Re)Building (Hi)Stories of Electroacoustic Music]''. In ICMC 2005: Free Sound Conference Proceedings. Barcelona: International Computer Music Conference; International Computer Music Association; SuviSoft Oy Ltd.<br />
* {{cite book|last=Felix|first=Stanford|title=The Complete Idiot's Guide Music Dictionary|url=https://books.google.com/books?id=lJ_Ql1fOCuwC&pg=PT172|year=2010|publisher=DK Publishing|isbn=978-1-101-19809-4}}
Azzerad, Michael (2002). ''Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991''. Back Bay Books. ISBN 0-316-78753-1<br />
Hegarty, Paul (2007). ''Noise/Music: A History''. Continuum International. ISBN 0-8264-1727-2<br />
Heylin, Clinton (1993). ''From the Velvets to the Voidoids: The Birth of American Punk Rock''. ISBN 1-55652-575-3<br />
Masters, Marc (2008). ''No Wave''. Black Dog Publishing. ISBN 1-906155-02-X<br />
McNeil, Legs and Gillian McCain (1997). ''Please Kill Me: The Uncensored Oral History of Punk''. Grove Press. ISBN 0-8021-4264-8<br />
Mudrian, Albert (2000). ''Choosing Death: The Improbable History of Death Metal and Grindcore''. Feral House. ISBN 1-932595-04-X<br />
[[Joseph Nechvatal|Nechvatal, Joseph]] (2012). ''Immersion Into Noise''. Ann Arbor: Open Humanities Press. <br />
Reynolds, Simon (1990). ''Blissed Out: The Raptures of Rock''. Serpent's Tail. ISBN 1-85242-199-1<br />
Reynolds, Simon (1995). ''The Sex Revolts''. Serpent's Tail. ISBN 1-85242-254-8<br />
Reynolds, Simon (2006). ''Rip It Up and Start Again: Postpunk 1978-1984''. Penguin. ISBN 0-14-303672-6.


{{Punk rock}}
{{Experimental music}}
{{Alternative rock}}
{{Alternative rock}}
{{Experimental music genres}}
{{punk}}


{{DEFAULTSORT:Noise Rock}}
{{DEFAULTSORT:Noise Rock}}
[[Category:Noise rock| ]]
[[Category:Punk rock genres]]
[[Category:Punk rock genres]]
[[Category:Alternative rock genres]]
[[Category:Alternative rock genres]]
[[Category:Noise music]]
[[Category:Noise music]]
[[Category:1980s neologisms]]
[[Category:American styles of music]]
[[Category:Rock music genres]]

Latest revision as of 02:02, 30 December 2024

This article is about the specific genre. For the general application of noise in rock music, see Noise in music § Rock music, and Noise music § Noise rock and no wave.

Noise rock
Flipper at the 9:30 Club, Washington, D.C., 1984
Other namesNoise punk
Stylistic origins
Cultural originsc. Mid-1960s to 1980s, New York City, United States
Derivative forms
Other topics

Noise rock (sometimes called noise punk)[2] is a noise-oriented style of experimental rock[3] that spun off from punk rock in the 1980s.[4][5] Drawing on movements such as minimalism, industrial music, and New York hardcore,[6] artists indulge in extreme levels of distortion through the use of electric guitars and, less frequently, electronic instrumentation, either to provide percussive sounds or to contribute to the overall arrangement.[4]

Some groups are tied to song structures, such as Sonic Youth. Although they are not representative of the entire genre, they helped popularize noise rock among alternative rock audiences by incorporating melodies into their droning textures of sound, which set a template that numerous other groups followed.[4] Other early noise rock bands were Big Black, Swans and the Jesus Lizard.

Characteristics

[edit]

Noise rock fuses rock to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality, improvisation, and white noise. One notable band of this genre is Sonic Youth, who took inspiration from the no wave composers Glenn Branca and Rhys Chatham.[7] Sonic Youth's Thurston Moore has stated: "Noise has taken the place of punk rock. People who play noise have no real aspirations to being part of the mainstream culture. Punk has been co-opted, and this subterranean noise music and the avant-garde folk scene have replaced it."[8]

History

[edit]
The Velvet Underground have been credited with creating the first noise rock album in 1968.
See also: Experimental rock, Punk rock, and Grunge

Forerunners

[edit]

While the music had been around for some time, the term "noise rock" was coined in the 1980s to describe an offshoot of punk groups with an increasingly abrasive approach.[5] An archetypal album is the Velvet Underground's White Light/White Heat (1968).[9][5] Treblezine's Joe Gross credits White Light/White Heat as the "cult classic" with being the first noise rock album, accordingly, "perhaps it's an obvious starting point, but it's also the starting point. Period."[5] Influenced by the free jazz of Ornette Coleman Reed stated that:

"I thought, you put Hubert Selby with Burroughs or Ginsberg lyrics against some rock with these kind of harmonic [ideas] going in … wouldn't you have something?"[10]

Les Rallizes Denudés quickly adopted the noise elements developed by the Velvet Underground in White Light/White Heat and The Velvet Underground & Nico by creating long improvisational songs based on feedback and the use of heavy distortion. The band moved toward an increasingly noise based sound in the 1970s, influencing a great number of artists in the Japanese noise and psychedelic rock scene.[11][self-published source]

The 1960s groups Red Krayola, Cromagnon, and Nihilist Spasm Band are other bands that were later assessed by some music critics and journalists to be early pioneers of what would become noise rock.[12]

Origins

[edit]
Sonic Youth in a publicity photo issued by SST to promote their fourth album, Sister (1987). Left to right: Shelley, Ranaldo, Moore, Gordon.

Guitarist Steve Albini of noise rock band Big Black stated in 1984 in an article that "good noise is like orgasm". He commented: "Anybody can play notes. There's no trick. What is a trick and a good one is to make a guitar do things that don't sound like a guitar at all. The point here is stretching the boundaries."[13] He said that Ron Asheton of the Stooges "made squealy death noise feedback" on "Iggy's monstruous songs".[13] Albini also mentioned John McKay of Siouxsie and the Banshees, saying: "The Scream is notable for a couple of things: only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs".[13] Albini also said that Keith Levene of Public Image Ltd had this "ability to make an excruciating noise come out of his guitar".[13]

In an article about noise rock, Spin wrote that a US compilation album titled No New York, released in 1978 on an independent label called "Antilles", was important as it documented the no wave New York scene. It featured several songs of Lydia Lunch's first band Teenage Jesus and the Jerks along with material of other groups Mars, DNA and James Chance and the Contortions.[9]

Music

[edit]

In the 1980s, Big Black, Sonic Youth and Swans were the leading figures of noise rock.[1] Sonic Youth were the first noise rock band to get signed by a major label in 1990.[14] The Jesus Lizard emerged in the early 1990s as a "leading noise rock band" in the American scene with their "willfully abrasive and atonal" style.[15] Later notable bands of the noise scene were Liars, Season to Risk[16] and Unsane.[17]

While noise rock has never had any mainstream popularity, the raw, distorted and feedback-intensive sound of some noise rock bands had an influence on shoegaze, which enjoyed some popularity in the 90s, especially in the UK, and grunge, the most commercially successful. Among them are Wisconsin's Killdozer, Chicago's Big Black, and most notably San Francisco's Flipper, a band known for its slowed-down and murky "noise punk". The Butthole Surfers' mix of punk, heavy metal and noise rock was a major influence, particularly on the early work of Soundgarden.[18]

Starting in the 1990s, noise punk developed mostly as a form of party music, with the band Lightning Bolt serving as key players in the 2000s noise punk scene in Providence, Rhode Island, although Brian Gibson, the band's bassist, is dismissive of the noise punk label, stating "I hate, hate, hate the category "noise-punk" I really don't like being labeled with two words that have so much baggage. It's gross."[19][20]

See also

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References

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  1. ^ a b Gardner, Noel (March 30, 2016). "The Sound Of Impact: Noise Rock In 1986". The Quietus. Retrieved September 30, 2017.
  2. ^ Felix 2010, p. 172.
  3. ^ Osborn, Brad (October 2011). "Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres*". Music Theory Online. 17 (3). doi:10.30535/mto.17.3.4. hdl:1808/12360.
  4. ^ a b c "Noise Rock". AllMusic. Retrieved March 11, 2017.
  5. ^ a b c d Terich, Jeff (February 25, 2013). "Hold On To Your Genre : Noise Rock". Treblezine. Retrieved March 29, 2021.
  6. ^ Blush 2016, p. 266.
  7. ^ "Rhys Chatham", Kalvos-Damien website. (Accessed October 20, 2009).
  8. ^ Sisario, Ben (December 2, 2004). "The Art of Noise". Spin.
  9. ^ a b Gross, Joe (April 2007). "Essentials: Noise Rock". Spin. 23 (4).
  10. ^ Shteamer, Hank (May 22, 2019). "Flashback: Ornette Coleman Sums Up Solitude on 'Lonely Woman'". Rolling Stone. Retrieved April 20, 2023.
  11. ^ "Les Rallizes Dénudés: Japan's Noise Pioneers". January 21, 2020.
  12. ^ "The Red Crayola, the Red Krayola - the Parable of Arable Land Album Reviews, Songs & More | AllMusic". AllMusic."Cromagnon - Orgasm Album Reviews, Songs & More | AllMusic". AllMusic."No Record - Record Collector Magazine". Retrieved May 4, 2023."The Nihilist Spasm Band invented noise rock in 1965". February 10, 2017.
  13. ^ a b c d Albini, Steve. (September - October 1984). "Tired of Ugy Fat ?". Matter [a Music Magazine] (10).
  14. ^ Escobedo Shepherd, Julianne (November 19, 2005). "Sonic Youth". Pitchfork. Retrieved March 29, 2021.
  15. ^ Erlewine, Stephen Thomas. "The Jesus Lizard – AllMusic". AllMusic. Retrieved September 5, 2012.
  16. ^ "Dig Me Out 505: Season to Risk - in a Perfect World".
  17. ^ "Quietus Writers' Top 40 Noise Rock Tracks". The Quietus. March 29, 2016. Retrieved March 29, 2021.
  18. ^ Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991. Little, Brown. p. 439.
  19. ^ Sisario, Ben (December 2, 2004). "The Art of Noise". Spin.
  20. ^ Labaan. "Lightning Bolt: Interview with the Brians". Retrieved April 11, 2009.[permanent dead link‍]

Sources

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