Post-noise: Difference between revisions – Wikipedia

 

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| other_names = * Post-noise psychedelia{{Sfn|Whiteley|Rambarran|2016|p=409}}{{Sfn|Priest|2013|p=158}}

| other_names = * Post-noise psychedelia{{Sfn|Whiteley|Rambarran|2016|p=409}}{{Sfn|Priest|2013|p=158}}

* post-noise underground<ref>{{Cite web |last=Neyland |first=Nick |title=Dolphins Into the Future: Canto Arquipélago |url=https://pitchfork.com/reviews/albums/16395-canto-arquipelago/ |access-date=2025-11-11 |website=Pitchfork |language=en-US}}</ref>

* post-noise underground<ref>{{Cite web |last=Neyland |first=Nick |title=Dolphins Into the Future: Canto Arquipélago |url=https://pitchfork.com/reviews/albums/16395-canto-arquipelago/ |access-date=2025-11-11 |website=Pitchfork |language=en-US}}</ref>

* [[hypnagogic pop]]

| stylistic_origins = * [[Noise music|Noise]]

| stylistic_origins = * [[Noise music|Noise]]

* [[Drone music|drone]]

* [[Drone music|drone]]

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| footnotes =

| footnotes =

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”’Post-noise”’ (also known as ”’post-noise psychedelia”’) is a [[microgenre]] and underground music scene that emerged in the early 2000s, and closely associated with the contemporary American [[New-age music|new age]], [[Ambient music|ambient]] and [[hypnagogic pop]] scenes. Artists such as [[James Ferraro]] and Spencer Clark’s [[The Skaters (band)|the Skaters]], [[Oneohtrix Point Never]], [[Pocahaunted]], [[Zola Jesus]] and [[Emeralds (band)|Emeralds]] would pioneer the movement.

”’Post-noise”’ (also known as ”’post-noise psychedelia”’) is a [[microgenre]] and underground music scene that emerged in the early 2000s, and closely associated with the contemporary American [[New-age music|new age]], [[Ambient music|ambient]] and [[hypnagogic pop]] scenes. Artists such as [[James Ferraro]] and Spencer Clark’s [[The Skaters (band)|the Skaters]], [[Oneohtrix Point Never]], [[Pocahaunted]], [[Zola Jesus]] and [[Emeralds (band)|Emeralds]] would pioneer the movement.

The American post-noise underground became one of the earliest music scenes to propagate on the [[Internet]], primarily through [[cassette tape]] and [[CD-R]] sharing on the website [[blogspot]].{{sfn|Reynolds|2011a|p=416}}<ref>{{Cite web |last=Harvell |first=Jess |title=Woebot: Automat EP / East Central One EP |url=https://pitchfork.com/reviews/albums/12749-automat-ep-east-central-one-ep/ |access-date=2025-11-11 |website=Pitchfork |language=en-US}}</ref><ref>{{Cite web |title=Matt Shoemaker {{!}} Erosion of the Analogous Eye |url=https://www.helenscarsdale.com/published/shoemakererosion.htm |access-date=2025-11-11 |website=www.helenscarsdale.com}}</ref> The movement led to the emergence of several online microgenres such as hypnagogic pop, [[eccojams]], [[chillwave]] and [[vaporwave]]. Additionally, the terms “post-noise” and “hypnagogic pop” would briefly be used interchangeably.

The American post-noise underground became one of the earliest music scenes to propagate on the [[Internet]], primarily through [[cassette tape]] and [[CD-R]] sharing on the website [[blogspot]].{{sfn|Reynolds|2011a|p=416}}<ref>{{Cite web |last=Harvell |first=Jess |title=Woebot: Automat EP / East Central One EP |url=https://pitchfork.com/reviews/albums/12749-automat-ep-east-central-one-ep/ |access-date=2025-11-11 |website=Pitchfork |language=en-US}}</ref><ref>{{Cite web |title=Matt Shoemaker {{!}} Erosion of the Analogous Eye |url=https://www.helenscarsdale.com/published/shoemakererosion.htm |access-date=2025-11-11 |website=www.helenscarsdale.com}}</ref> The movement led to the emergence of several online microgenres such as hypnagogic pop, [[eccojams]], [[chillwave]] and [[vaporwave]]. Additionally, the terms “post-noise” and “hypnagogic pop” would briefly be used interchangeably.

2000s hypnagogic pop related music scene

Post-noise (also known as post-noise psychedelia) is a microgenre and underground music scene that emerged in the early 2000s, and closely associated with the contemporary American new age, ambient and hypnagogic pop scenes. Artists such as James Ferraro and Spencer Clark’s the Skaters, Oneohtrix Point Never, Pocahaunted, Zola Jesus and Emeralds would pioneer the movement.

The American post-noise underground became one of the earliest music scenes to propagate on the Internet, primarily through cassette tape and CD-R sharing on the website blogspot.^[7][8] The movement led to the emergence of several online microgenres such as hypnagogic pop, eccojams, chillwave and vaporwave. Additionally, the terms “post-noise” and “hypnagogic pop” would briefly be used interchangeably.

Writer David Keenan of the Wire stated, “post-noise” drew influences from noise music, drone, free improvisation and lo-fi cassette tapes as a musical way “to effect time travel”.^[9] Other influences include neo-psychedelia and new age, alongside German progressive electronic and kosmische musik artists Tangerine Dream, Klaus Schulze, Vangelis and Edgar Froese.^[10][11] Additionally, Keenan would coin the term “hypnagogic pop” in 2009 to describe a certain ’80s nostalgia focused outgrowth of the post-noise movement.^{[9][12][13][14]}

In 2003, artists James Ferraro and Spencer Clark formed the group the Skaters.^[15][16][17] After a year of recording, they began touring around the country.^[18] Their style of music inspired a trend of artists who mimicked their drone music. Other acts associated with the scene included Oneohtrix Point Never,^[11][10] Pocahaunted, Dolphins Into the Future, Sun Araw, Yellow Swans,^[19] Stellar Om Source,^[10] Ducktails,^[16] Zola Jesus,^[16] Xiphiidae and Emeralds.^[20][21] Artist owned labels such as Clark’s Pacific City Sound Visions, Ferraro’s New Age Tapes and Xiphiidae’s Housecraft Recordings.

In August 2009, writer David Keenan of the Wire coined the term “hypnagogic pop”, and briefly the origins of the style through “post-noise”. Keenan would bring the terms “hypnagogic pop” and “post-noise” to broader attention. In December 2010, writer Ed Jupp would criticize the terms in a review of Twin Shadow:^[24]

[…] the advent of artists like Neon Indian, Emeralds, and Ariel Pink’s Haunted Graffiti (the latter labelmates of Twin Shadow) have started a seachange in thinking about 80s AOR, particularly when filtered through a post-noise and shoegazing filter. David Keenan wrote an article in The Wire last year that examined the concept and lead to a whole lot of discussion of whether the term is fair or not, and whether totally different bands are being shoehorned into the type of movement-making more commonly associated with the NME.

Oneohtrix Point Never (Daniel Lopatin) has been cited as emerging from the post-noise scene. In 2010, he released the album Chuck Person’s Eccojams Vol. 1 under the pseudonym Chuck Person, the album would coin a style of music known as “eccojams” which would later influence the vaporwave internet microgenre. In 2025, Pitchfork stated in a retrospective review:^[11]

[Lopatin] was at the vanguard of the American noise scene in the hazy years when it retreated from feedback-soaked harshness into an unkanny kosmische. Alongside artists like Emeralds, Yellow Swans, Skaters, and Carlos Giffoni, noise music was starting to sound less like Texas Chain Saw Massacre and more like Tarkovsky’s Stalker—and Lopatin was quietly training to become the house DJ for the “Zone.”

The terms “post-noise” and “hypnagogic pop” would briefly be used interchangeably.^[25][26]

By the 2010s, the movement fell out of prominence due to the popularity of hypnagogic pop, chillwave and vaporwave. However, labels such as Retrac Recordings have focused on reissuing and re-releasing “internet cult” classics of the era on tape, CD and vinyl, while artists such New Mexican Stargazers spearheaded a revival of the visual and musical style of the era.^[28]