Noise pop
| Noise pop | |
|---|---|
| Stylistic origins | |
| Cultural origins | Mid-1980s, United Kingdom and United States |
| Typical instruments |
|
| Derivative forms | Shoegazing |
| Local scenes | |
| Boston | |
| Other topics | |
Noise pop is a subgenre of alternative rock developed in the mid-1980s in the UK and US that mixes dissonant noise or feedback, or both, with the melodic instrumentation and production elements more often found in pop music, making it more melodic than noise rock.
Noise pop has been described as "the halfway point between bubblegum and the avant-garde". A simple example of noise pop would be the combination of conventional pop songwriting with experimental sounds of white noise, distorted guitars and drones. The Velvet Underground were a major influence on the genre, with their experiments with feedback and distortion on their early albums. Early 1980s underground band the Membranes coined the term "pop noise" to describe a noisier precursor to this scene. Early American alternative rock bands like Sonic Youth, Yo La Tengo and Dinosaur Jr., who mixed rock song structures with guitar distortion, were immediate forerunners. The Jesus and Mary Chain's 1985 debut, Psychocandy, was considered the archetype for the noise pop genre. Flaming Lips and Mercury Rev brought the sonic teachings of noise to the psychedelic terrain, with special influence from Syd Barrett. 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. Kareem Estefan of Stylus Magazine cited the album for "transforming the use of distortion in indie rock with its screeching abrasion, yet managing to feature some of the catchiest melodies of the 80s."
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