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| {{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 music}} | |||
| {{multiple issues| | |||
| {{cleanup|reason=Tone, style, bands being mentioned for little or no reason, and little coverage of the genre's definition and criteria.|date=December 2013}} | |||
| {{refimprove|date=December 2013}} | |||
| {{unreliable sources|date=December 2013}} | |||
| {{original research|date=December 2013}} | |||
| {{too many examples|date=March 2017}} | |||
| }} | |||
| {{Infobox music genre | {{Infobox music genre | ||
| | name = Noise rock | | name = Noise rock | ||
| | native_name = | |||
| | etymology = | |||
| | other_names = Noise punk{{sfn|Felix|2010|p=172}} | |||
| | color = white | | color = white | ||
| | bgcolor = crimson | | bgcolor = crimson | ||
| | image = Velvet Underground 1968 by Billy Name.png | |||
| | stylistic_origins = {{hlist|]|]|]|]|]|]}} | |||
| | alt = | |||
| | cultural_origins = Late 1970s, United Kingdom, United States and Australia | |||
| | caption = The Velvet Underground, who are credited with creating noise rock in 1968 | |||
| | stylistic_origins = | |||
| * ]<ref name="Osborn2011"/> | |||
| * ]<ref name="Treblezine"/><ref name="AllMusicNR"/> | |||
| * ]{{sfn|Blush|2016|p=266}}<ref name="AllMusicNR"/> | |||
| * ]{{sfn|Blush|2016|p=266}} | |||
| * ]{{sfn|Blush|2016|p=266}} | |||
| * ]{{sfn|Blush|2016|p=266}} | |||
| | cultural_origins = {{circa|1968}}–1980s | |||
| | instruments = | | instruments = | ||
| * ]s<ref name="AllMusicNR"/> | |||
| | derivatives = {{hlist|]|]|]|]}} | |||
| * ]<ref name="AllMusicNR"/> | |||
| | derivatives = | |||
| | subgenres = | |||
| | subgenrelist = | |||
| | fusiongenres = | | fusiongenres = | ||
| | regional_scenes = |
| regional_scenes = | ||
| | local_scenes = | |||
| | other_topics = | | other_topics = | ||
| * ] | * ] | ||
| * ] | |||
| * ] | * ] | ||
| * ] | * ] | ||
| * ] | |||
| * ] | * ] | ||
| | footnotes = | |||
| | current_year = <!-- set to "yes" for automatic link to "<current year> in <genre>" article; see template documentation for more info --> | |||
| }} | }} | ||
| '''Noise rock''' is a style of ]<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=]|url=http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.html|date=October 2011|volume=17|issue=3}}</ref> |
'''Noise rock''' (sometimes '''noise punk'''{{sfn|Felix|2010|p=172}}) is a diverse<ref name="Treblezine"/> style of ]<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=]|url=http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.html|date=October 2011|volume=17|issue=3}}</ref> that spun off from ] in the 1980s.<ref name="AllMusicNR">{{cite web|title=Noise Rock|url=http://www.allmusic.com/style/noise-rock-ma0000004455|website=]|accessdate=March 11, 2017}}</ref><ref name="Treblezine"/> Drawing from ], ], ], and ],{{sfn|Blush|2016|p=266}} artists indulge in extreme levels of distortion through the use of ]s, and less frequently, ]ation, either to provide percussive sounds or to contribute to the overall arrangement. Some groups are tied to song structures, such as ]. Although they are not representative of the entire genre, they helped popularize noise rock among ] audiences by incorporating melodies into their droning textures of sound, which set a template that numerous other groups followed.<ref name="AllMusicNR"/> | ||
| ==History== | |||
| A number of noise rock bands emerged in ] in the 1980s. A similar scene also began to develop in ], Japan, spearheaded by ] and the ],<ref name=spin/><ref name="thememagazine.com">Andrew Parks, "Boredoms Explore the Void", ''Theme'', Fall 2006. Access date: August 26, 2008.</ref> The British ] groups developed an entirely distinct form of noise rock, largely derived from the so-called ] related genre.<ref name=NoisepopAM>, ''Allmusic'', retrieved 4 September 2011.</ref> Beginning in the mid-1990s, ] became the center of a new crop of noise-rock bands, largely a product of the ] scene.<ref name=spin/> After 2000, noise rock groups formed all over the world. Post 2000 noise rock often features ] ]ic drum patterns. | |||
| {{See also|Experimental rock|No wave|Industrial music|New York hardcore}} | |||
| 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=]}}</ref> An archetypal album is ]'s '']'' (1968).<ref>{{cite journal|last1=Gross|first1=Joe|title=Noise Rock Essentials|journal=]|date=April 2007|volume=23|issue=4}}</ref><ref name="Treblezine"/> ''Treblezine''{{'}}s Joe Gross credits 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" /> Sonic Youth's ] explained: "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="Sisario2004"/> | |||
| Starting in the 1990s, noise punk developed mostly as a form of party music, with the band ] serving as key players in the 2000s noise punk scene in ].<ref name="Sisario2004">{{cite web|last1=Sisario|first1=Ben|title=The Art of Noise|url=http://www.spin.com/2004/12/art-noise/|website=]|date=December 2, 2004}}</ref> | |||
| ==Style== | |||
| Noise rock is a ] of music descended from early ] music and ].<ref name=amg/> ]'s ] has said that {{cquote|Noise has taken the place of punk rock. People who play noise have no aspiration to become part of ] culture. Punk has been co-opted, and subterranean noise music and the avant-garde folk scene have replaced it.<ref name=spin/>}} | |||
| ==List of artists== | |||
| ]]] | |||
| {{dynamic list}} | |||
| Many noise rock groups have a confrontational performance style that mirrors the aggression of their music. This reaches back to ] and ], who were famous for destroying their instruments on stage.<ref name=mp>Martin Patrick, "Rock/Art", ''Art Monthly'', issue 276, May 2004. Access date: August 25, 2008.</ref> Other artists such as ], of ], and ], of ], lacerated their own bodies during performances.<ref>Stephen Thomas Erlewine & Mark Deming, The Stooges, Allmusic bio. Access date: August 25, 2008.</ref><ref name=germs>John Dougan, The Germs, Allmusic bio. Access date: August 25, 2008.</ref> | |||
| {{columns-list|colwidth=30em| | |||
| * ]<ref name="Treblezine"/><ref name="AllMusicNR"/> | |||
| 1980s noise rock musicians tended to adopt a simple, utilitarian mode of dress influenced by the ] ethos as a rejection of the more ostentatious elements of ]. ] articulated an ethical stance that emphasized restraint, ], and self-sufficiency.<ref>Azerrad, "Big Black", p. 312-345.</ref> The ] 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 ] (Syd Barrett, Jimi Hendrix, Butthole Surfers<ref name=bs/>) and ] (], ]<ref>John Dougan, Royal Trux, Allmusic bio. Access date: August 25, 2008.</ref>). Many contemporary noise rock musicians, such as ], ], and ], have a very theatrical performances and wear costumes.<ref name=spin/> Some bands incorporate visual displays, such as film or ].<ref name="bs"/> | |||
| * ]<ref name="Treblezine"/> | |||
| * ]<ref name="Treblezine"/> | |||
| ==History== | |||
| * ]<ref name="Treblezine"/> | |||
| {{multiple issues|section=yes| | |||
| * ]<ref name="Treblezine"/> | |||
| {{refexample|section}} | |||
| * ]<ref name="Treblezine"/> | |||
| {{specific-section}} | |||
| * ]<ref name="Treblezine"/> | |||
| * ]<ref name="Treblezine"/><ref name="AllMusicNR"/> | |||
| * ]<ref name="Treblezine"/> | |||
| * ]<ref name="AllMusicNR"/> | |||
| * ]<ref name="Treblezine"/> | |||
| }} | }} | ||
| ===Precursors=== | |||
| The origins of noise rock are rooted in rock songs featuring extremely dissonant sounds and electronic ]. Examples of commercially successful figures that pioneered these elements include early ],<ref>{{cite web|url=http://ultimateclassicrock.com/pink-floyd-album-discography/ |title=Pink Floyd Discography |publisher=Ultimateclassicrock.com|date= |accessdate=30 October 2016}}</ref> the ], ],<ref>Richie Unterberger & Sean Westergaard, Jimi Hendrix, Allmusic Bio. Access date: August 25, 2008.</ref> ],<ref>Richie Unterberger, ''The Who Sings My Generation'' review, Allmusic. Access date: August 25, 2008.</ref> and ].<ref>G.E. Light, " '90's Noise", Part 3 of 4, ''Perfect Sound Forever''. </nowiki>] Access date: August 25, 2008.</ref> Underground rock musicians such as ], ], and the ] incorporated elements of ]<ref name="mp22">Martin Patrick, "Rock/Art", ''Art Monthly'', issue 276, May 2004. </nowiki>] Access date: August 25, 2008.</ref> and ], notably The Velvet Underground's ] and their second album, ], which incorporated free musicianship and ].<ref>Velvet Underground and Nico review, Rolling Stone, November 1, 2003. </nowiki>] Access date: August 26, 2008.</ref> More obscure musicians such as ],<ref>Richie Unterberger, The Monks, Allmusic bio. Access date: August 25, 2008.</ref> San Francisco's ],<ref>Richie Unterberger, Fifty Foot Hose, Allmusic bio. Access date: August 25, 2008.</ref> and Japan's ],<ref>Rolf Semprebon, Allmusic bio, . Access date: August 25, 2008.</ref> also incorporated the effects of dissonance. German ] bands were also significant influences on noise rock, most notably ] and ].<ref name="spin22">Ben Sisario, "The Art of Noise", ''Spin'', December 2, 2004. </nowiki>] 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> The New York ] scene, featuring such artists as ] and ], which began to coalesce in 1978, was also an essential development in noise rock.<ref name="ReferenceA22">"No Wave", Allmusic. Access date: August 25, 2008.</ref> While no wave included a variety of ], experimental tendencies, with different groups incorporating elements of free jazz, ], and ] into their performance, the most abrasive groups would find their innovations streamlined into noise rock tradition. ], from San Francisco, produced their own style of ] that shared some common ground with the no wave groups.<ref>John Bush, Chrome, Allmusic bio. Access date: August 25, 2008.</ref> | |||
| === 1980s === | |||
| ====Wider prominence==== | |||
| ]]]A number of noise rock bands emerged from many different scenes in ] in the 1980s. These included{{importance example}} ], and ] (San Francisco), ]<ref name="amg2">Allmusic Genre: Noise rock. 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="faq2">Georg Cracked, Noise Rock FAQ, April 2002- January 2008. </nowiki>] Access date: August 25, 2008.</ref> (Chicago), ],<ref name="amg2" /><ref name="faq2" /> ]<ref name="faq2" /><ref name="ReferenceB2">Stephen Thomas Erlewine, Jesus Lizard bio, Allmusic. Access date: August 25, 2008.</ref> ]<ref name="ReferenceC2">Will Lerner, Scratch Acid, ''The Greatest Gift'' review, Allmusic. Access date: August 25, 2008.</ref> (Texas), ]<ref name="faq2" /><ref>Patrick Kennedy, Melvins, ''Honky'' review, Allmusic. Access date: August 26, 2008.</ref> (Montesano, Washington), ], ],<ref name="spin3">Ben Sisario, "The Art of Noise", ''Spin'', December 2, 2004. </nowiki>] 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="amg2" /> ], ],<ref name="spin3" /><ref name="amg2" /> ],<ref name="spin3" /><ref name="amg2" /> The Thing, and ]<ref name="faq2" /><ref>Jason Birchmeier, Helmet, Strap It On review, Allmusic. Access date: August 26, 2008.</ref> (New York), ]<ref name="amg2" /> and ]<ref name="amg2" /> (Washington DC), among many others. These bands{{clarify|date=March 2017|post-text=(all of them?)}} were initially referred to as "pigfuck" by ],<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 ]'s '']'', though the increasingly melodic tendencies of many of these groups quickly rendered the tag misleading. The Minneapolis label ]<ref name="faq2" /><ref>Bradley Torreano, Dope, Guns, ... vol. 1 review, Allmusic. Access date: August 26, 2008.</ref> released a great deal of music in this tradition. ] groups such as ] developed in parallel to, and sometimes in collaboration with, the noise rock groups.<ref name="spin3" /> Many of these bands went on to temper the initial ferocity and amelodicism of their approach. ] covered and were influenced by ],<ref name="amg2" /> | |||
| Sonic Youth spoke highly of ],<ref>Cameron Macdonald, Stylus Magazine, Ciccone Youth review, August 9, 2005. </nowiki>] Access date: August 27, 2008.</ref>{{importance example}} Pussy Galore covered and were influenced by ],<ref>Carly Carlioli, "Sleazy does it", The Boston Phoenix, April 16–23, 1998. </nowiki>] Access date: August 27, 2008.</ref>{{importance example}} ] drew inspiration from ],<ref>John Dougan, My War review, Allmusic. Access date: August 27, 2008.</ref>{{importance example}} and the Butthole Surfers worked with ]<ref>Ned Raggett, Independent Worm Saloon review, Allmusic. Access date: August 27, 2008.</ref> and emulated Jimi Hendrix.<ref>Ned Raggett, Hairway to Steven review, Allmusic. Access date: August 27, 2008.</ref>{{importance example}} Some ] groups like ] are also considered noise rock.<ref>Steve Huey, Don Caballero bio, Allmusic. Access date: August 27, 2008.</ref> ],<ref>Jeff Terich, "Post-hardcore: The 90 Minute Guide", Treblezine, April 24, 2007. </nowiki>] Access date: August 27, 2008.</ref> ],<ref>Jason Heller, "Feast of Reason", Denver Westword, June 20, 2002. </nowiki>] Access date: August 27, 2008.</ref> and some ] groups<ref>Stewart Mason, Bikini Kill review, Allmusic. Access date: August 27, 2008.</ref> also take influence from noise rock. | |||
| Beginning in 1986, the British group ] created "]" by melding the noise rock of Swans<ref>Mudrian, page 35.</ref> with ] and ].<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 ] continued in an extremely dissonant, freeform vein.<ref>"Grindcore", Allmusic. Access date: August 27, 2008.</ref> A similar scene also began to develop in ], Japan, spearheaded by ] and the ],<ref name="spin4">Ben Sisario, "The Art of Noise", ''Spin'', December 2, 2004. </nowiki>] 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="thememagazine.com2">Andrew Parks, "Boredoms Explore the Void", ''Theme'', Fall 2006. </nowiki>] Access date: August 26, 2008.</ref> 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. Access date: August 26, 2008.</ref> screaming, and overloaded guitars. Boredoms singer ] also worked with the New York City ] group ].<ref>Bradley Torreano, Torture Garden review, Allmusic. Access date: August 27, 2008.</ref> The Boredoms eventually evolved towards a far more meditative sound, taking inspiration from ].<ref>Steve Huey, Boredoms bio, Allmusic. Access date: August 27, 2008.</ref> ],<ref>Steve Huey, Noise a Go Go review, Allmusic. Access date: August 27, 2008.</ref> ],<ref name="faq3">Georg Cracked, Noise Rock FAQ, April 2002- January 2008. </nowiki>] Access date: August 25, 2008.</ref><ref>Joslyn Lane, Null and Void review, Allmusic. Access date: August 27, 2008.</ref> ],<ref name="faq3" /><ref>Patrick Kennedy, Freedom Bondage review, Allmusic. Access date: August 27, 2008.</ref> ],<ref>Ned Raggett, Planet of the Wolves review, Allmusic. Access date: August 27, 2008.</ref> and ]<ref name="faq3" /><ref>Ben Tausig & Jason Lymangrover, Melt-Banana bio, Allmusic. Access date: August 27, 2008.</ref> extended the Japanese noise rock style. These bands also reflected the impact of the ] scene pioneered by ].<ref name="spin4" /> | |||
| ==== Influence on the mainstream ==== | |||
| The 1980s noise rock bands were significant influences on ]<ref>Stephen Thomas Erlewine & Greg Prato, Nirvana bio, Allmusic. Access date: August 27, 2008.</ref> and ],<ref name="faq4">Georg Cracked, Noise Rock FAQ, April 2002- January 2008. </nowiki>] Access date: August 25, 2008.</ref><ref>Stephen Thomas Erlewine, Pretty On the Inside review, Allmusic. Access date: August 27, 2008.</ref> and as a result had some mainstream currency during the period when ] was played on the radio.<ref>{{cite news|url=https://www.nytimes.com/1992/06/14/arts/pop-view-nirvana-bes-awaiting-fame-s-call.html?pagewanted=all&src=pm|title=POP VIEW; Nirvana-bes Awaiting Fame's Call|date=1992-06-14|work=New York Times|accessdate=2011-11-07|first1=Jon|last1=Pareles}}</ref> Nirvana's album '']'' is particularly evident in its debts to 1980s noise rock, and was produced by ] frontman and noise rock icon ].<ref name="faq4" /><ref>Stephen Thomas Erlewine, In Utero review, Allmusic. Access date: August 27, 2008.</ref> ] groups, such as ],<ref>Ned Raggett, Psalm 69 review, Allmusic. Access date: August 27, 2008.</ref> ],<ref>Steve Huey, Broken review, Allmusic. Access date: August 27, 2008.</ref> and ],<ref>Bradley Torreano, Psycho-Head Blowout review, Allmusic. Access date: August 27, 2008.</ref> were also indebted to noise rock. | |||
| ===1990s=== | |||
| In 1992, ] started in Japan, afterwards being picked up by ] and Steve Albini and became a known act in ] and the United States at the end of the nineties and a famous example of ultra fast noise rock.{{importance example}} In France, ] experimented with a mixture of ] collages and noisy rock.{{importance example}} English ] band ] also started to experiment with rock music structures in the early 1990s,<ref>{{cite journal|year=2002|title=Ramleh - Too Many Miles|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|journal=]|volume=221-226|pages=73}}</ref> laying foundation for "] noise rock."<ref name="trouser2">{{cite web|url=http://www.trouserpress.com/entry.php?a=ramleh|title=Ramleh|publisher=]|accessdate=April 6, 2014|author=Perdue, Everett Jang}}</ref>{{importance example}} | |||
| Noise rock also spread into the ] with bands such as the ] from ]. Heavily influenced by the sound of ] and ], Ed Kemper Trio was the focus of the 2004 documentary ''People Will Eat Anything''. ] and ] formed in the early 1990s in ]. | |||
| ]<ref>Greg Prato, Fantômas review, Allmusic. Access date: August 28, 2008.</ref> is also an advocate of the noise rock scene, maintaining the label ].<ref>David Downs, "Orinda's Noise Vomitorium". East Bay Express, January 17, 2007. </nowiki>] Access date: August 28, 2008.</ref> | |||
| ==== Providence scene ==== | |||
| ]]]Beginning in the mid-1990s, ] became the center of a new crop of noise-rock bands, largely a product of the ] scene.<ref name="spin5">Ben Sisario, "The Art of Noise", ''Spin'', December 2, 2004. </nowiki>] 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> These groups tended to owe less to traditional rock song structures, and were more minimal and drone-like. These included{{importance example}} ],<ref name="spin5" /> ],<ref name="spin5" /> ],<ref>Will Lerner, Severe Exposure review, Allmusic. Access date: August 28, 2008.</ref> and ].<ref>Daphne Carr, Shame Fantasy II review, Allmusic. Access date: August 28, 2008.</ref> ]<ref name="spin5" /> were originally part of this scene, but moved to Brooklyn, where they aligned themselves with groups like ].<ref>Jo-Ann Greene, God's Money review, Allmusic. 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. </nowiki>] Access date: November 19, 2009.</ref> These groups were also related, in part, to the San Diego scene that emerged from ], most famously ],<ref name="spin5" /> and to ],<ref name="spin5" /> from ]. | |||
| ===2000s=== | |||
| During the 2000s, noise rock groups formed all over the world. These included{{importance example}} ], ], ], ], ], ], ], ], ], ], ], ], ], ], Aa (Big A Little a), ], Girls in Love, ], Mohamed UFO, ], ], ], and ]. In San Francisco, some of the numerous examples include ], ], ], So So Many White White Tigers, Total Shutdown, ], Crack: We Are Rock, Burmese, and Pink & Brown. More examples of modern noise rock bands include ] and ] based in Los Angeles, ], The New Flesh, and ] from Baltimore, The Lowdown from Santa Cruz,<ref>http://www.burnmyeye.com/</ref> ] from Seattle, ], ], ], and Action Beat from the UK, The Maharajah Commission from ],<ref>http://othersounds.sg/news/tour/congress-of-weird-fools-part-iii-gangly-youth-and-the-maharajah-commission/.</ref> ] from Vancouver, and ] 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 ] has experimented with a variety of ], with instruments created for the benefit of numerous groups in the scene, including ], ], ], and ]. | |||
| The post 2000 noise rock often features ] ] drum patterns. Recent bands have carried on older traditions while branching out and furthering their theatrics. Bands such as ], ], and ] are known for wearing outlandish costumes.<ref name="spin6">Ben Sisario, "The Art of Noise", ''Spin'', December 2, 2004. </nowiki>] 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> | |||
| ===2010s=== | |||
| Noise rock groups that are notable after 2010 include ], ], ], ], ], ], ], ], ], ], ], ], as well as new Japanese acts such as ] and ]. In 2010 ] gained popularity while changing their sound to more of a noise rock one. | |||
| {{Expand section|date=April 2014}} | |||
| == Related genres == | |||
| ===Noise pop=== | |||
| Early 1980s underground band ] coined the term "pop noise" to describe a noisier precursor to the scene. Early American bands like ], ] and ], who mixed rock song structures with guitar distortion, were immediate forerunners. ]'s 1985 debut, '']'', was considered the archetype for the ] genre. ] and ] brought the sonic teachings of noise to the psychedelic terrain, with special influence from ]. These two bands, have had a similar evolution, since in addition to having shared members in certain stages of its race, later they left almost at the same time the noises sounds to invoice discs much more pop.<ref>{{cite book|url=https://books.google.com.tw/books?id=NWJ7LM7q7ScC&pg=PA96&dq=noise+pop+syd+barrett&hl=es-419&sa=X&ved=0ahUKEwjQwqmF8bDRAhUFE5QKHeAcCcIQ6AEIWTAJ#v=onepage&q=noise%20pop%20syd%20barrett&f=false|title=Syd Barrett: A Very Irregular Head|last=Chapman|first=Rob|publisher=Rob Chapman|year=2010|isbn=978-0-7546-8803-7|ref=harv}}</ref> Later in the 1980s, noise pop was a major inspiration for the British ] movement.<ref name="Allmusic2">{{cite web|url=http://www.allmusic.com/style/noise-pop-ma0000012156|title=Noise Pop: Significant Albums, Artists and Songs, Most Viewed: AllMusic|work=]|accessdate=17 July 2012}}</ref> Influenced by The Jesus and Mary Chain, ] started to experiment with a fusion of 1960s ] and noise on their EP, '']'', paving way to their forthcoming shoegazing sound.<ref>{{cite web|url=http://www.allmusic.com/album/the-new-record-by-my-bloody-valentine-mw0000940802|title=My Bloody Valentine - The New Record by My Bloody Valentine|publisher=]|accessdate=24 March 2015|author=Abebe, Nitsuh}}</ref> Noise pop continued to be influential in the ] scene into the 1990s.<ref name="Allmusic2" /> | |||
| ===Noisecore=== | |||
| The term noisecore has been used by the mainstream media to define ] bands from the late 90's to the mid 00's. The term was an often used as a umbrella term for hardcore bands that use elements of noise rock and in rarer cases ] in their sound. Genres that are normally associated with noisecore are ], ], ], ] and ]. Kevin Stewart-Panko of '']'' referred to groups such as ], ], ], ], ], ], ], ], ], and ] as noisecore.<ref name="ksp2">Kevin Stewart-Panko, "The Decade in Noisecore", ''Terrorizer'' no. 75, Feb 2000, p. 22-23.</ref> Stewart-Panko described the sound of these bands as a "dynamic, violent, discordant, technical, brutal, off-kilter, no rules mixture of hardcore, ], ], ], grind and ]." Other bands that have been dubbed noisecore are ], ], ], ], ], ], ], ] among others. | |||
| == Labels == | |||
| The following is a list of record labels that specialize in noise rock. | |||
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| * Lo-Fi Eyed Records | |||
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| ==References== | ==References== | ||
| {{reflist| |
{{reflist|30em}} | ||
| == |
==Sources== | ||
| {{refbegin|normalfont=yes}} | |||
| ] (2005). ''''. In ICMC 2005: Free Sound Conference Proceedings. Barcelona: International Computer Music Conference; International Computer Music Association; SuviSoft Oy Ltd.<br /> | |||
| * {{cite book|ref=harv|last=Blush|first=Steven|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}} | |||
| 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 /> | |||
| * {{cite book|ref=harv|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}} | |||
| Hegarty, Paul (2007). ''Noise/Music: A History''. Continuum International. ISBN 0-8264-1727-2<br /> | |||
| {{refend}} | |||
| 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 /> | |||
| ] (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. | |||
| {{Rock music}} | |||
| {{Punk rock}} | |||
| {{Alternative rock}} | {{Alternative rock}} | ||
| {{Experimental music genres}} | |||
| {{punk}} | |||
| {{DEFAULTSORT:Noise Rock}} | {{DEFAULTSORT:Noise Rock}} | ||
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Revision as of 15:16, 11 March 2017
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 music.| Noise rock | |
|---|---|
 The Velvet Underground, who are credited with creating noise rock in 1968 | |
| Other names | Noise punk |
| Stylistic origins | |
| Cultural origins | c. 1968–1980s |
| Typical instruments | |
| Other topics | |
Noise rock (sometimes noise punk) is a diverse style of experimental rock that spun off from punk rock in the 1980s. Drawing from no wave, minimalism, industrial music, and New York hardcore, 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. 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.
History
See also: Experimental rock, No wave, Industrial music, and New York hardcoreWhile 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. An archetypal album is the Velvet Underground's White Light/White Heat (1968). Treblezine's Joe Gross credits 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." Sonic Youth's Thurston Moore explained: "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."
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.
List of artists
This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.- Big Black
- The Birthday Party
- Boredoms
- The Butthole Surfers
- Les Rallizes Denudes
- Thurston Moore
- Lou Reed
- Sonic Youth
- The Stooges
- Swans
- The Velvet Underground
References
- ^ Felix 2010, p. 172.
- ^ Osborn, Brad (October 2011). "Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres*". Music Theory Online. 17 (3).
- ^ Terich, Jeff. "Hold On To Your Genre : Noise Rock". Treblezine.
- ^ "Noise Rock". AllMusic. Retrieved March 11, 2017.
- ^ Blush 2016, p. 266.
- Gross, Joe (April 2007). "Noise Rock Essentials". Spin. 23 (4).
- ^ Sisario, Ben (December 2, 2004). "The Art of Noise". Spin.
Sources
- Blush, Steven (2016). New York Rock: From the Rise of The Velvet Underground to the Fall of CBGB. St. Martin's Press. ISBN 978-1-250-08361-6.
{{cite book}}: Invalid|ref=harv(help) - Felix, Stanford (2010). The Complete Idiot's Guide Music Dictionary. DK Publishing. ISBN 978-1-101-19809-4.
{{cite book}}: Invalid|ref=harv(help)
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