Noise rock: Difference between revisions
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* [[punk rock]] |
* [[punk rock]] |
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* [[noise music|noise]] |
* [[noise music|noise]] |
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* [[acid rock]] |
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* [[minimal music|minimal]] |
* [[minimal music|minimal]] |
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* [[drone music|drone]] |
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* [[psychedelic rock]] |
* [[psychedelic rock]] |
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* [[ |
* [[acid rock]] |
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* [[garage rock]] |
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* [[proto-punk]] |
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* [[garage punk]] |
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* [[industrial music|industrial]] |
* [[industrial music|industrial]] |
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* [[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> |
* [[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> |
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===Forerunners=== |
===Forerunners=== |
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| ⚫ | 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: |
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<span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">In 1964, [[John Cale]] recorded the track "Loop" which comprised solely of audio feedback in a [[locked groove]], it was released in 1966 as a single credited to [[the Velvet Underground]]. It has been described as "a precursor to [Reed's] ''[[Metal Machine Music]]''". [[The Velvet Underground]] would later experiment heavily with the use of drone and noise in rock music.</span><ref>{{Cite news |date=2021-10-13 |title=The Velvet Underground: The band that made an art of being obscure |url=https://www.bbc.com/news/entertainment-arts-58876732 |access-date=2024-06-15 |work=BBC News |language=en-GB}}</ref> |
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In the mid-to-late 1960s, artists such as [[the Beatles]], [[Jimi Hendrix]], [[Frank Zappa]], [[the Who]], [[Pink Floyd]], [[the Velvet Underground]], [[Grateful Dead]], [[Jefferson Airplane]] and [[the Yardbirds]] began experimenting with and incorporating heavy distortion, layered effects and noisy guitar feedback into rock music, this became a staple of a heavier branch of [[Psychedelic rock|psychedelia]] known as [[acid rock]]. Online music publication [[Far Out (website)|Far Out]] cites these innovations with being influential to the development of [[noise music]] and noise rock.<ref>{{Cite web |date=2023-11-24 |title=What was the first mainstream song to use guitar feedback? |url=https://faroutmagazine.co.uk/first-song-guitar-feedback/ |access-date=2024-06-15 |website=faroutmagazine.co.uk |language=en-US}}</ref> |
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[[Jimi Hendrix]] and [[Lou Reed]]<ref>{{Cite web |date=2024-01-03 |title=Lou Reed Interviewed: “I’m a guitar player who likes feedback, I’m not that complicated!” |url=https://www.mojo4music.com/articles/stories/lou-reed-interviewed/ |access-date=2024-06-15 |website=Mojo |language=en}}</ref> were influential innovators in the intentional use of [[guitar feedback]] in rock music, a feature which would become a staple characteristic of noise rock.<ref>{{Cite web |date=2019-07-03 |title=A Beginner's Guide to Noise Music |url=https://noise.thehardtimes.net/2019/07/03/a-beginners-guide-to-noise-music/ |access-date=2024-06-15 |website=Hard Noise |language=en-US}}</ref> However, artists such as [[Frank Zappa]] and [[the Beatles]] had experimented with feedback prior on songs like "[[Who Are the Brain Police?]]" and "[[I Feel Fine]]". [[The Yardbirds]] pioneered the "[[Having a Rave Up with the Yardbirds|rave up]]", inspired by [[jazz]], it involved speeding up a song's beat to [[double-time]] during the mid-section whilst building up the instrumental to a climax through improvised guitar noise courtesy of [[Jeff Beck]].{{sfn|Schumacher|2003|pp=29–30}} |
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Moreover, the [[British Invasion]] kickstarted the development of [[garage rock]] in the United States, encouraging young amateur musicians to utilize cheap distortion pedals as inspired by groups like [[the Rolling Stones]] and [[the Kinks]], which resulted in a branch of heavier and noisier music, notable bands were [[the Electric Prunes]], [[the Seeds]] and [[Count Five]].{{sfnm|1a1=Hicks|1y=1999|1p=36|2a1=Buckley|2y=2003|2p=1103}} These experiments sometimes culminated in extended songs such as "[[Sister Ray]]" by [[the Velvet Underground]] and "[[A Web of Sound|Up in Her Room]]" by [[the Seeds]]. |
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<span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Garage rock group [[Monks (band)|the Monks']] [[Gary Burger]] began introducing abrasive guitar feedback into their music in 1965.{{sfn|Shaw|1994|pp=164–165}} Cole Alexander of psychedelic-rock band </span>[[Black Lips]] <span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">credits experimental artist [[Michael Yonkers]] with taking guitar noise and feedback to extreme lengths.<ref name="dazed1">{{cite news |author=Tim Burrows |date=September 2010 |title=Sounding off: Michael Yonkers |url=http://www.dazeddigital.com/music/article/21723/1/sounding-off-michael-yonkers |accessdate=March 31, 2015 |publisher=[[Dazed Digital]]}}</ref> Subsequently, rock band [[Chicago (band)|Chicago]] would feature the song "[[Chicago Transit Authority (album)|Free Form Guitar]]" built purely on guitar feedback as part of their debut album, similar to [[Grateful Dead|the Grateful Dead's]] "[[Live/Dead|Feedback]]".</span> |
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| ⚫ | 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 |
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{{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>}} |
{{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>}} |
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[[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}} |
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| ⚫ | The 1960s |
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| ⚫ | 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 | AllMusic | website=[[AllMusic]] }}{{cite web | url=https://www.allmusic.com/album/orgasm-mw0000619006 | title=Cromagnon - Orgasm Album Reviews, Songs & More | 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> |
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However, most notably were [[Les Rallizes Dénudés|Les Rallizes Denudés]] who quickly adopted the more abrasive elements developed by [[the Velvet Underground]] in ''[[White Light/White Heat]]'' as well as expanding towards 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 |date=2021-09-22 |title=Heavier Than A Death In The Family: The Noisy World Of Les Rallizes Dénudés |url=https://businessandarts.net/blog/heavier-than-a-death-in-the-family-the-noisy-world-of-les-rallizes-dnuds |access-date=2024-06-14 |website=Business & Arts |language=en-US}}</ref> Additionally, [[proto-punk]] artists such as [[the Stooges]],<ref>{{Cite web |last=Terich |first=Jeff |date=2013-02-25 |title=Hold on to Your Genre: Noise Rock |url=https://www.treblezine.com/hold-on-to-your-genre-noise-rock/ |access-date=2024-06-15 |website=Treble |language=en-US}}</ref> [[Electric Eels (band)|Electric Eels]], [[Rocket from the Tombs]], [[The Deviants (band)|Deviants]], [[the Sonics]], [[Destroy All Monsters (band)|Destroy All Monsters]], [[Simply Saucer]], [[Patti Smith]] and [[MC5]]<ref>{{Cite web |last=Nelson |first=Alex |date=2016-10-14 |title=40 essential punk records to mark 40 years of rock rebellion |url=https://inews.co.uk/culture/music/essential-punk-rock-records-albums-25447 |access-date=2024-06-15 |website=inews.co.uk |language=en}}</ref> would also have an influence on the noise rock genre. As well as [[avant-garde music]] artists [[Yoko Ono]]<ref>{{Cite web |title=Yoko Ono/Plastic Ono Band - Yoko Ono Plastic Ono Band |url=https://www.johnlennon.com/music/with-yoko-ono/yoko-ono-plastic-ono-band/ |access-date=2024-06-16 |website=JOHN LENNON |language=en-GB}}</ref> and [[Captain Beefheart]].<ref>{{Cite web |date=2018-02-12 |title=Noise rock: A how-to guide for the perplexed |url=https://toiletovhell.com/noise-rock-a-how-to-guide-for-the-perplexed/ |access-date=2024-06-15 |website=The Toilet Ov Hell |language=en-US}}</ref> In Germany, groups emerging out of the influential [[Krautrock|krautrock scene]] such as [[Can (band)|Can]],<ref>{{Cite web |date=2019-04-06 |title=Despite the band’s stature, they have remained underrated and unknown to many fans of rock music |url=https://lifestyle.livemint.com//news/talking-point/opinion-why-this-can-deserves-to-be-reopened-111641619169644.html |access-date=2024-06-14 |website=Mintlounge |language=en}}</ref> [[Faust (band)|Faust]],<ref>{{Cite news |last=Petridis |first=Alexis |date=2021-10-18 |title=Krautrock legends Faust: ‘We were naked and stoned a lot – and we ate dog food’ |url=https://www.theguardian.com/music/2021/oct/18/krautrock-legends-faust-naked-stoned-dogfood-german-beatles |access-date=2024-06-14 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> [[Amon Düül II]] and [[Neu!]]<ref>{{Cite news |last=Cumming |first=Tim |date=2001-08-10 |title=Neu! That's what I call music |url=https://www.theguardian.com/books/2001/aug/11/books.guardianreview1 |access-date=2024-06-14 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> routinely entwined abrasive, free-improvised noises within their brand of rock music. <span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">Subsequently, American groups like </span>[[the Residents]] <span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">who released a noisy version of "</span>[[Satisfaction (Residents cover)|Satisfaction]]<span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">", and </span>[[Half Japanese]]<span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">, who influenced </span>[[Sonic Youth]]<ref>{{Cite web |date=2014-08-06 |title=Half Japanese ‘Overjoyed’ mini-doc features members of Sonic Youth, REM, and Velvet Underground |url=https://dangerousminds.net/comments/half_japanese_overjoyed_mini_doc_features_members_of_sonic_youth_rem_and_ve |access-date=2024-06-16 |website=DangerousMinds}}</ref> <span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">and </span>[[Kurt Cobain]]<ref>{{Cite web |date=2022-07-30 |title=Kurt Cobain's 50 favourite albums of all time |url=https://faroutmagazine.co.uk/kurt-cobain-50-favourite-albums-of-all-time/ |access-date=2024-06-16 |website=faroutmagazine.co.uk |language=en-US}}</ref><span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">, began to explore similar territories</span>.<ref>{{Cite web |date=2018-11-28 |title=30 Essential Noise Rock Tracks |url=https://www.stereogum.com/2023335/best-noise-rock-songs/lists/ultimate-playlist/ |access-date=2024-06-14 |website=Stereogum |language=en}}</ref> |
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===Origins=== |
===Origins=== |
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[[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.]] |
[[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.]] |
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| ⚫ | 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 /> |
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During the advent of [[punk rock]] and [[post-punk]] in the late '70s, many bands began adopting a more abrasive approach to rock music, influential amongst these artists were [[This Heat]],<ref>{{Cite web |last=Currin |first=Grayson |date=2020-10-21 |title=Understanding The Impossibly Far-Reaching Influence Of This Heat |url=https://www.npr.org/2020/08/21/904291487/understanding-the-impossibly-far-reaching-influence-of-this-heat |url-status=live |access-date=2024-06-14 |website=[[NPR]]}}</ref> [[Swell Maps]], [[Wire (band)|Wire]], [[The Fall (band)|The Fall]] and [[Pere Ubu]].<ref>{{Cite web |date=2023-07-09 |title=PERE UBU @ RICH MIX, LONDON – Post-Punk Music |url=https://postpunk.co.uk/pere-ubu-rich-mix-london |access-date=2024-06-15 |language=en-GB}}</ref> However, most notable of these groups were [[Nick Cave|Nick Cave's]] experimental post-punk band [[The Birthday Party (band)|the Birthday Party]]. Inspired by [[the Pop Group]],<ref>{{Cite news |last=O'Hagan |first=Sean |last2=O’Hagan |first2=Sean |date=2010-09-14 |title=The Pop Group: still blazing a trail that makes rock look conservative |url=https://www.theguardian.com/music/musicblog/2010/sep/14/pop-group |access-date=2024-06-15 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> they went on to influence "a generation of US noise-rock groups, from [[Sonic Youth]] to [[Big Black]] and [[the Jesus Lizard]]".<ref>{{Cite news |last=Stafford |first=Andrew |date=2023-10-25 |title=The Birthday Party: the danger, drugs and rancour behind Nick Cave’s post-punk band |url=https://www.theguardian.com/music/2023/oct/26/the-birthday-party-the-danger-drugs-and-rancour-behind-nick-caves-post-punk-band |access-date=2024-06-14 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> Others include, San Francisco's influential acid-punk band [[Chrome (band)|Chrome]]<ref>{{Cite web |date=2022-07-19 |title=A Guide to Chrome’s Dark, Dense Discography |url=https://daily.bandcamp.com/lists/chrome-album-guide |access-date=2024-06-15 |website=Bandcamp Daily}}</ref> who were covered by [[the Jesus Lizard]], as well as art-punk group [[MX-80 Sound]] who influenced [[Steve Albini]]<ref>{{Cite web |date=2019-11-12 |title=byNWR {{!}} LONG DISTANCE INFORMATION |url=https://web.archive.org/web/20191112234944/https://www.bynwr.com/articles/long-distance-information |access-date=2024-06-16 |website=web.archive.org}}</ref><ref>{{Cite web |last=Breznikar |first=Klemen |date=2022-12-26 |title=MX-80 Sound {{!}} Interview {{!}} “Velvet Underground meets Ornette Coleman” |url=https://www.psychedelicbabymag.com/2022/12/mx-80-sound-interview.html |access-date=2024-06-16 |website=It's Psychedelic Baby Magazine |language=en-US}}</ref> and [[Sonic Youth]].<ref>{{Cite web |last=Jones |first=Kevin L. |date=2015-11-28 |title=MX-80 Recapture Their Sound: SF's Noisy Art-Rockers Talk Old Days, New LP {{!}} KQED |url=https://www.kqed.org/arts/11115041/mx-80-recapture-their-sound-sfs-noisy-art-rockers-talk-old-days-new-lp |access-date=2024-06-16 |website=www.kqed.org |language=en}}</ref> In addition, "Weird Noise E.P." the British [[DIY culture|DIY punk]] various artists 7" single released in 1979 was the earliest noise rock compilation album. |
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| ⚫ | Guitarist [[Steve Albini]] of noise rock band [[Big Black]] stated in |
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In an article about noise rock, ''[[Spin (magazine)|Spin]]'' wrote that the US compilation album ''[[No New York]]'', produced by [[Brian Eno]] and released in 1978 was an important document of the late '70s [[New York City|New York]] [[no wave]] scene that acted as an influence to bands like [[Sonic Youth]] and [[Swans (band)|Swans]]. 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" /> other bands who were not featured on the compilation such as [[Theoretical Girls]], [[Suicide (band)|Suicide]], [[the Notekillers]], [[Rudolph Grey|Red Transistor]], [[Glenn Branca|the Static]] and Jack Ruby<ref>{{Cite news |last=Moore |first=Thurston |date=2014-04-25 |title=Thurston Moore on Jack Ruby: the forgotten heroes of pre-punk |url=https://www.theguardian.com/music/musicblog/2014/apr/25/thurston-moore-on-jack-ruby-the-forgotten-heroes-of-pre-punk |access-date=2024-06-15 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> were also influential to the scene. |
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| ⚫ | While noise rock has never had any |
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== 1980s-early 1990s == |
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| ⚫ | In the 1980s, |
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[[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 |author=Erlewine, Stephen Thomas |title=The Jesus Lizard – AllMusic |url=http://allmusic.com/artist/the-jesus-lizard-p13331 |access-date=September 5, 2012 |website=[[AllMusic]]}}</ref> |
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=== Pigfuck === |
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[[File:Big Black (1986).jpg|thumb|Big Black at [[Chicago]]'s [[Union Station (Chicago)|Union Station]] in 1986; left to right: Riley, Albini, and Durango]] |
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Music critic [[Robert Christgau]] coined the term "pigfuck" in the 1980s when trying to describe the caustic sounds of emerging noise rock band [[Sonic Youth]] (similar to another term he coined "skronk" as a descriptor for jagged and noisy guitar music<ref>{{Cite web |last=Martin |first=Ian |date=2014-10-21 |title=You say proto-this, I say post-that, let's call the whole thing 'skronk' |url=https://www.japantimes.co.jp/culture/2014/10/21/music/say-proto-say-post-lets-call-whole-thing-skronk/ |access-date=2024-06-15 |website=The Japan Times |language=en}}</ref>), the term later took on a life of its own and became associated with the sounds of bands like [[Big Black]], [[Butthole Surfers]], [[Cows (band)|Cows]] and [[Flipper (band)|Flipper]] as well as those on labels such as [[Touch and Go Records]] and [[Amphetamine Reptile Records]].<ref>{{Cite web |date=2018-02-12 |title=Noise rock: A how-to guide for the perplexed |url=https://toiletovhell.com/noise-rock-a-how-to-guide-for-the-perplexed/ |access-date=2024-06-15 |website=The Toilet Ov Hell |language=en-US}}</ref> |
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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 /> |
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=== Noisecore === |
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Noisecore was a derivate of [[hardcore punk]] and [[noise music]] which emerged in the mid-1980s, notable artists include [[Melt-Banana]] and [[the Gerogerigegege]]. |
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===Music=== |
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== Late 1990s-2000s == |
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| ⚫ | 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> |
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[[File:Ries-03.jpg|alt=Lightning Bolt Live (2005) at the Southgate House|thumb|[[Royal Trux|Lightning Bolt Live (2005) at the Southgate House]]]]Notable noise rock bands that emerged in the early 2000s were [[Daughters (band)|Daughters]], [[Japandroids]], [[Metz (band)|METZ]], [[the Goslings]] and [[Death from Above 1979]]. |
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| ⚫ | 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> |
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=== Shitgaze === |
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During the 2000s, [[Noise pop|lo-fi noise pop]] bands [[Psychedelic Horseshit]] pioneered a brand of noise rock they dubbed "shitgaze", [[the New Republic]] briefly discussed the term, while bands labelled as part of the scene included [[the Hospitals]], [[No Age]],<ref>{{Cite web |title=No Age : Everything In Between |url=https://qromag.com/no_age_everything_in_between/ |access-date=2024-06-15 |website=QRO Magazine |language=en-US}}</ref> [[Times New Viking]], Pink Reason and [[Eat Skull]]. |
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| ⚫ | 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> |
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== 2010s-2020s == |
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[[File:Chat Pile Roadburn.png|thumb|Chat Pile performing at 2023 [[Roadburn Festival]]]] |
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During the early 2010s, noise rock artists such as [[Gilla Band]], [[Whores (band)|Whores]] and [[Mannequin Pussy]] emerged onto the scene. Subsequently, bands like [[Black Midi]],<ref>{{Cite web |title=Black Midi – crusade against the unnecessary |url=https://www.loudandquiet.com/interview/the-black-midi-story-the-industry-scramble-over-an-unlikely-hype-band-just-pleasing-themselves/ |access-date=2024-06-15 |website=Loud And Quiet |language=en-US}}</ref> [[Sprain (band)|Sprain]] and [[Chat Pile]] would later follow, gaining prominence as modern noise rock groups. |
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==See also== |
==See also== |
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Revision as of 02:22, 21 June 2024
| Noise rock | |
|---|---|
 | |
| Other names | Noise punk |
| Stylistic origins | |
| Cultural origins | c. 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
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
Forerunners
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
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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
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
References
- ^ a b Gardner, Noel (March 30, 2016). "The Sound Of Impact: Noise Rock In 1986". The Quietus. Retrieved September 30, 2017.
- ^ 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). doi:10.30535/mto.17.3.4. hdl:1808/12360.
- ^ a b c "Noise Rock". AllMusic. Retrieved March 11, 2017.
- ^ a b c d Terich, Jeff (February 25, 2013). "Hold On To Your Genre : Noise Rock". Treblezine. Retrieved March 29, 2021.
- ^ Blush 2016, p. 266.
- ^ "Rhys Chatham", Kalvos-Damien website. (Accessed October 20, 2009).
- ^ Sisario, Ben (December 2, 2004). "The Art of Noise". Spin.
- ^ a b Gross, Joe (April 2007). "Essentials: Noise Rock". Spin. 23 (4).
- ^ Shteamer, Hank (May 22, 2019). "Flashback: Ornette Coleman Sums Up Solitude on 'Lonely Woman'". Rolling Stone. Retrieved April 20, 2023.
- ^ "Les Rallizes Dénudés: Japan's Noise Pioneers". January 21, 2020.
- ^ "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.
- ^ a b c d Albini, Steve. (September - October 1984). "Tired of Ugy Fat ?". Matter [a Music Magazine] (10).
- ^ Escobedo Shepherd, Julianne (November 19, 2005). "Sonic Youth". Pitchfork. Retrieved March 29, 2021.
- ^ Erlewine, Stephen Thomas. "The Jesus Lizard – AllMusic". AllMusic. Retrieved September 5, 2012.
- ^ "Dig Me Out 505: Season to Risk - in a Perfect World".
- ^ "Quietus Writers' Top 40 Noise Rock Tracks". The Quietus. March 29, 2016. Retrieved March 29, 2021.
- ^ Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991. Little, Brown. p. 439.
- ^ Sisario, Ben (December 2, 2004). "The Art of Noise". Spin.
- ^ Labaan. "Lightning Bolt: Interview with the Brians". Retrieved April 11, 2009.[permanent dead link]
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.
- Felix, Stanford (2010). The Complete Idiot's Guide Music Dictionary. DK Publishing. ISBN 978-1-101-19809-4.
