Noise = Aesthetics: Converting sounds that are considered harsh to the ear into “pleasure” and “art”.
| Text: mmr | Theme: Rebellion and destruction - a challenge to existing music and social order. |
“Noise” is not simply “noise,” but refers to a field of expression that deviates from established musical idioms (melody, harmony, rhythm) and emphasizes the sound itself, texture, physical impact, and auditory stimulation.Born from a combination of artistic, technological, and social backgrounds, it has continued to change shape for over 100 years.
1) Pioneer (1910s–1940s): Futurism and tape experiments — conceptualization of “noise”
Historical background
A time when industrialization and urbanization made the noise of the city crowds and machinery commonplace.The ``aesthetic sense’’ of sound expanded, and sounds other than traditional musical instruments began to be incorporated into art.
Important events/people
- In 1913, Italian avant-garde artist Luigi Russolo published ``The Art of Noises’’.
<iframe width=”560” height=”315” src=”https://www.youtube.com/embed/fYYkMux6Dgw?si=0wmaw6qZOSicyJq9” title=”YouTube video player” frameborder=”0” allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share”referrerpolicy=”strict-origin-when-cross-origin” allowfullscreen></iframe>
Representative works
- Live recording of Russolo’s “Noise Machine”.
<iframe width=”560” height=”315” src=”https://www.youtube.com/embed/BYPXAo1cOA4?si=3vGqYRz-19v38yDP” title=”YouTube video player” frameborder=”0” allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share”referrerpolicy=”strict-origin-when-cross-origin” allowfullscreen></iframe>
Equipment/Technology
- Demonstrations using mechanical and environmental sounds.
2) Tape and concrete (1940s–1960s): Formation of the technological foundation
Historical background
After World War II, the development of magnetic tape and electroacoustic equipment made it possible to compose music using “recordings themselves” as material (musique concrète).
Important events/people
- musique concrète (1948-) by Pierre Schaeffer.
Representative works
- Works by Pierre Henry and Tod Dockstader.
Equipment/Technology
- Tape editing (reverse rotation, looping, cutting/splicing).
<iframe width=”560” height=”315” src=”https://www.youtube.com/embed/c4ea0sBrw6M?si=IEoPBBeF-a-9ZeH2” title=”YouTube video player” frameborder=”0” allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share”referrerpolicy=”strict-origin-when-cross-origin” allowfullscreen></iframe>
3) Deviation from rock and proto-noise (1960s–1970s)
Historical background
Rock becomes more experimental and noise is incorporated into the rock context.
Representative works
Equipment/Technology
- Guitar feedback, effectors, and simple recorders.
4) Industrial and early noise scene (late 1970s – 1980s)
Historical background
An independent noise scene was born out of a backlash against commercial music.
Important events/people
- Throbbing Gristle establishes the “industrial” concept.
Representative works
- Early releases of Kollaps (Einstürzende Neubauten), Throbbing Gristle.
Equipment/Technology
- Industrial percussion instruments, metal sounds, simple synthesizers.
5) Power electronics and Japanese noise (1980s)
Historical background
Cassette culture and the DIY spirit formed an international noise network.
Important events/people
Representative works
- Merzbow’s “Pulse Demon” related works, Whitehouse’s early edition.
Equipment/Technology
- Destructive amplifiers, radio noise, distortion pedals, and cassette recordings.
6) Diversification and crossover (1990s–2000s)
Historical background
Noise intersects with rock, metal, post-rock, and electronica.
Representative works/trends
- Boredoms, Lightning Bolt, Sonic Youth, etc.
Equipment/Technology
- DAW, digital effects, samplers, granular synthesis.
7) Modern (2010s–present): Software and Modules
Historical background
Diversification through modular synth revival and laptop acoustics.
Representative trends
- Connection with Eurorack noise, live coding and sound art.
Equipment/Technology
- Modular (Eurorack), Max/MSP, SuperCollider, Circuit Bending.
<iframe width=”560” height=”315” src=”https://www.youtube.com/embed/qf1OGUeIs1s?si=Gi8BwQpkH6ea5xpn” title=”YouTube video player” frameborder=”0” allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share”referrerpolicy=”strict-origin-when-cross-origin” allowfullscreen></iframe>
Summary of equipment changes
- Initial: Noise machine, environmental sound
- Tape period: Magnetic tape editing
- Analog period: Synth, guitar + effects
- Cassette period: DIY noise, cassette distribution
- Digital period: DAW, software processing
- Modern: Eurorack, live coding, circuit bending
Representative masterpiece list
- Luigi Russolo — The Art of Noises (1913, theory/performance)
- Pierre Schaeffer — musique concrète works
- Lou Reed — Metal Machine Music (1975)
- Throbbing Gristle — early works
- Einstürzende Neubauten — Kollaps
- Merzbow — Pulse Demon and others
- Whitehouse — early works
- Boredoms — Late experimental works
- Lightning Bolt — Early 2000s work
At the end
Noise music is always a challenge to existing aesthetics and an attempt to expand the boundaries of music.From Russolo’s mechanical sounds to modular synths, even after more than 100 years of history, the essence of all instruments is to “listen to the sound itself.”
Explore more like this
【コラム】 RE/Search：サブカルチャーを記録する雑誌と文化的影響
V. Vale and RE/Search: Subculture Explorer
【コラム】 RE/Search：サブカルチャーを記録する雑誌と文化的影響
V. ValeとRE/Search：サブカルチャーの探求者
