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Kōbai | eISSN 2745-1445 | ISSN 2805-7783

NOIZU (ノイズ): Japan’s Legacy of Extremity for the World

No. 9 (2025-06-27)
  • Alejandro Bohórquez-Keeney
    Escuela de Inteligencia y Contrainteligencia, BG Ricardo Charry Solano

Abstract

An unsuspecting listener presses play on their favorite music player, expecting to hear organized sounds to pass the time—perhaps as background for their daily tasks. The album cover is in Japanese; maybe it’s something exotic, something rooted in Japanese tradition. Suddenly, a shapeless, chaotic cacophony bursts from the speakers, demanding the listener’s full attention. The stereotypical Japanese calm is nowhere to be found. Instead, they’re confronted with an unsettling noise, impossible to trace to any familiar musical instrument.

This is how many first encounter Japanoise—or simply noizu (ノイズ): the hallmark of Japan’s underground music scene, known internationally within extreme music circuits. Both reviled and fascinating, it breaks with every musical convention, pushing the boundaries of sound and perception.

References

Attali, J. (1985). Noise: the political economy of music. Minneapolis, MN: The University of Minnesota Press.

Blánquez, J. y León, O. (2021). Loops 1: una historia de la música electrónica en el siglo XX. Barcelona: Reservoir Books.

Hegarty, P. (2007). Noise/music: a history. New York, NY: The Continuum International Publishing Group Inc

Novak, D. (2013). Japanoise: music at the edge of circulation. Durham y London: Duke University Press.

Tau, M. (2022). Extreme Music: from silence to noise and everything in between. Port Townsend, WA: Feral House.