# Post-noise

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Music genre and scene

Post-noise Stylistic origins Noise[1] drone[2] lo-fi[3] progressive electronic[4] psychedelia[5] ambient new age[6] tape music kosmische Musik[4] DIY Cultural origins 2000s[1][3] Derivative forms Hypnagogic pop[1][6][7] vaporwave[3] glo-fi[8] neo-kosmische[9] nu-new age[10] chillwave[8] Local scenes Post-noise underground Other topics Crimson Wave hauntology harsh noise blogspot frippertronics shoegaze Italian occult psychedelia Brooklyn noise

**Post-noise** is a 21st century [music genre](/source/Music_genre) and scene related to [hypnagogic pop](/source/Hypnagogic_pop), [new-age](/source/New-age_music) and [hauntology](/source/Hauntology_(music)). The term was featured in writer [David Keenan](/source/David_Keenan)'s 2009 article *Childhood's End* in issue 306 of the British music magazine [*The Wire*](/source/The_Wire_(magazine)) where he coined the term hypnagogic pop, describing it as a "questing post-Noise network that worships New Age music and uses half-remembered hits as portals to the subconscious". Music critic [Simon Reynolds](/source/Simon_Reynolds) referred to "[glo-fi](/source/Glo-fi)" as a post-noise microscene.

The style mostly propagated on the [Internet](/source/Internet), primarily through [tape trading](/source/Tape_trading). Reynolds credited [the Skaters](/source/The_Skaters_(band)), a group formed by [James Ferraro](/source/James_Ferraro) and Spencer Clark in 2004, with catalyzing an "international post-noise network". Other associated artists included [Oneohtrix Point Never](/source/Oneohtrix_Point_Never), [Pocahaunted](/source/Pocahaunted), [Laurel Halo](/source/Laurel_Halo), [Sun Araw](/source/Sun_Araw), [Yellow Swans](/source/Yellow_Swans), Stellar Om Source, Dolphins into the Future, Xiphiidae and [Emeralds](/source/Emeralds_(band)). Ferraro released work through [CD-R](/source/CD-R) and [cassette](/source/Cassette_tape) on his self-owned [independent record labels](/source/Independent_record_label) New Age Tapes and Muscleworks Inc. Musical styles such as [neo-kosmische](/source/Neo-kosmische), [nu-new age](/source/Nu-new_age), [chillwave](/source/Chillwave) and [vaporwave](/source/Vaporwave) have been associated with the post-noise scene.

Part of a series on Psychedelia Arts Psychedelic art Algorithmic art Cyberdelic Diffraction Fractal art Liquid light show LSD art Paisley Phosphene Replication Psychedelic music Acid house Acid jazz Acid rock Acid techno Acid trance Chillwave Cloud rap Hypnagogic pop Italian occult psychedelia Krautrock Madchester Neo-psychedelia Palm Desert Scene Peyote song Post-noise P-Funk Psychedelic folk Psychedelic funk Psychedelic pop Psychedelic rock Psychedelic soul Psychedelic trance Space rock Stoner rock Trip hop Toytown pop Psychedelic scenes Bosstown Sound San Francisco Sound Tropicália Zamrock UK Underground Texas psychedelia Woodstock Nation New Age travellers La Onda Freak scene Mánička Psychedelic film Acid Western Hippie exploitation films Stoner film Psychedelic literature Culture Counterculture Entheogen Freak-out Microdosing Smart shop Trip sitter Drugs 25I-NBOMe 2C-B Ayahuasca Cannabis DMT Ibogaine Ketamine LSD Mescaline Peyote Psilocybin mushrooms San Pedro cactus List of psychedelic drugs List of psilocybin mushrooms Psychoactive cactus Trip killer Experience Bad trip Contact high Ecology Ego death Therapy Treatments for trauma-related disorders Hallucinogen persisting perception disorder Trip report History Acid Tests Albert Hofmann Alexander Shulgin Counterculture of the 1960s Peacock revolution David E. Nichols History of LSD List of psychedelic chemists Owsley Stanley Psychedelic era Summer of Love Timothy Leary William Leonard Pickard Law Drug liberalization Drug policy of the Netherlands Drug policy of Oregon Drug policy of Portugal Drug policy reform Legality of cannabis Legal status of psilocybin mushrooms Legal status of psychedelic drugs Neurolaw Psilocybin decriminalization in the United States Timeline of psychedelic legalization and decriminalization Related topics Addiction Cannabis Cognitive liberty Drug checking Flower Power Flower child Harm reduction Hippie MDMA Neuroenhancement Neuroethics Philosophy of psychedelics Psychonautics Prohibition of drugs Rave Recreational drug use Regulation of therapeutic goods Self-experimentation Surrealism War on drugs LSD in Czechoslovakia Drug use in music v t e

## Etymology and characteristics

In August 2009, writer [David Keenan](/source/David_Keenan) coined the term "[hypnagogic pop](/source/Hypnagogic_pop)" in the article *Childhood's End* in issue 306 of the British music magazine [*The Wire*](/source/The_Wire_(magazine)).[11][12][13][14][6] He also used the terms "post-noise" and "post-noise underground". The [blurb](/source/Blurb) of the article described hypnagogic pop as a "questing post-Noise network that worships [New Age music](/source/New-age_music) and uses half-remembered hits as portals to the subconscious."[6] In the article, Keenan discussed artists such as [James Ferraro](/source/James_Ferraro), Spencer Clark, [Ariel Pink](/source/Ariel_Pink), [Ducktails](/source/Ducktails_(musical_project)), [Pocahaunted](/source/Pocahaunted), [Zola Jesus](/source/Zola_Jesus), and [Emeralds](/source/Emeralds_(band)) as hypnagogic pop acts.[6] Keenan also noted the commonalities between hypnagogic pop and [noise music](/source/Noise_music), stating that "Like Noise before it, Hypnagogic pop fetishises the outmoded media of its infancy, releasing albums on [cassette](/source/Cassette_tape), celebrating the video era and obsessing over the reality-scrambling potential of photocopied art."[6][15] In 2009, musician [Daniel Lopatin](/source/Daniel_Lopatin) described post-noise as a move away from "macho" noise music.[16] Hypnagogic pop has been cited as growing out of post-noise music.[17]

On September 28, 2009, writer Emilie Friedlander would post an article on hypnagogic pop stating, "I commend Keenan a hundred times over for putting into words something that was on the tip of many a critical tongue over the past year but that no one had the guts articulate as something so sweeping as a cultural movement: the rise of a lo-fi post-noise psychedelia that moves past noise's rejection of [consonance](/source/Consonance_and_dissonance) and sort of unconscious adherence to the 20th century high modernist ideal of autonomous art (art that engages in discourse with contemporary culture precisely by refusing such a discourse, though noise typically refuses a discourse with academic constructs of this kind as well)".[18]

Although their aesthetic sensibilities diverge in many ways, this kind of composition shares with Hauntology and Hypnagogic Pop a kind of sadness or melancholy and a desire to construct an alternative reality by abstracting the affects from expressions past and showering the listener with their unclosed charm. Turning attention away from the historical depths in which a musical signifier is sunk, and scrambling the customary relationship between a work’s formal object and aural symptoms, produces a strange, alluring apparition that “brings objects directly into play by invoking them as dark agents at work beneath those qualities [that express it]”.

— Eldritch Priest (2013)[2]

In *Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure* (2013), author Eldritch Priest describes "lo-fi post-noise psychedelia" as "often drone-heavy and noise-inclined, this music is characterized by a logic of deformation that aims to disfigure without obliterating samples, timbres, and impressions noticeably culled from a musical past that never was." Priest refers to what writer David Keenan labelled "wasteland 1980s cultural signifiers" to describe how "Indulgence in these warped signifiers is what gives the music its spectral identity."[2] Additionally, Priest stated that the style blends "outmoded media's high noise to signal ratio with an affected anti-virtuosity", and elaborated "Rather than sampling 1980s pop culture with contemporary technology, one can hear composers recycling the tropes of experimental art music from the 1950s and 1970s, tropes that [Michael Nyman](/source/Michael_Nyman) compiled and categorized as '[indeterminacy](/source/Indeterminacy_(music)),' '[process](/source/Process_music),' 'ephemerality,' and the 'non-identity' of a work. But we can also hear the debt to [conceptual art](/source/Conceptual_art) and [free jazz](/source/Free_jazz) that helped evolve [experimental music](/source/Experimental_music) in the 1970s into [sound art](/source/Sound_art), something that [Hauntology](/source/Hauntology) and Hypnagogic Pop don't exhibit owing to the [rock](/source/Rock_music) and [dance](/source/Dance_music) background of their practitioners."[2]

In *Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music* (2016), author Stephen Graham defines post-noise as a wide subgenre of [noise music](/source/Noise_music) which breaks apart noise music's orthodoxies, "inserting newer influences and references from popular culture alongside dyschronic affects [...] and subliminal modalities."[1] It can even add "some commercial appeal."[1] For Graham, post-noise encompasses [hauntology](/source/Hauntology_(music)) and hypnagogic pop.[1] Throughout the book, he uses the term "post-noise" to refer to artists such as James Ferraro, LA Vampires, [the Advisory Circle](/source/The_Advisory_Circle), [Fatima Al Qadiri](/source/Fatima_Al_Qadiri), [Daniel Lopatin](/source/Daniel_Lopatin), [Broadcast](/source/Broadcast_(band)), [Sun Araw](/source/Sun_Araw), and [Moon Wiring Club](/source/Moon_Wiring_Club).[1][19] Additionally, Graham states:

"Post-noise" refers to twenty-first-century music building off the viscous sounds, loose gestures, and anti-mainstream contexts of noise, while adding pop influences and even some commercial appeal [...] uses popular culture, from 1980s films and the proto-digital soundtracks of 1990s advertising to popular musical sounds themselves, as bedrock influences. But they aren’t simply pop artists at the extremes; their work demands some kind of other home. These would be examples of horizontally overlapping fringe practices.[1]

Post-noise artists were influenced by noise music,[20] [psychedelia](/source/Psychedelic_music),[5] and new age,[6][10] alongside German [progressive electronic](/source/Progressive_electronic) and [kosmische musik](/source/Kosmische_musik) artists such as [Tangerine Dream](/source/Tangerine_Dream), [Klaus Schulze](/source/Klaus_Schulze), [Vangelis](/source/Vangelis) and [Edgar Froese](/source/Edgar_Froese).[4] In 2010, *[The Guardian](/source/The_Guardian)* published an article by music critic [Simon Reynolds](/source/Simon_Reynolds) where he stated "post-noise microscenes like [glo-fi](/source/Glo-fi)" were maintaining "the [tape trade](/source/Tape_trading) tradition, releasing music in small-run editions as low as 30 copies and wrapping them in surreal photocopy-[collage artwork](/source/Collage)".[15]

## History

### Origins

See also: [Hauntology (music)](/source/Hauntology_(music)) and [Brooklyn noise](/source/Brooklyn_noise)

[James Ferraro](/source/James_Ferraro) (pictured in 2012) and Spencer Clark's noise group [the Skaters](/source/The_Skaters_(band)) formed in 2004.[21]

Writer Stephen Graham traces "the wide genre(s) of post-noise music" to a hybridization of the noise music scene which took place from the 1990s onwards.[1] Coming from several noise scenes in the United States, artists [James Ferraro](/source/James_Ferraro) and Spencer Clark formed the group [the Skaters](/source/The_Skaters_(band)) in 2004.[22][23][24] After a year of recording, they began touring around the country.[22] Graham referred to Ferraro as a "post-noise musician".[1] Other acts associated with the post-noise scene included [Oneohtrix Point Never](/source/Oneohtrix_Point_Never),[25][1][4][26] [Pocahaunted](/source/Pocahaunted),[27] Dolphins into the Future,[28] [Sun Araw](/source/Sun_Araw),[1] [Yellow Swans](/source/Yellow_Swans),[29] Stellar Om Source,[30][4][31] Xiphiidae,[21] Laurel Halo,[32] and [Emeralds](/source/Emeralds_(band)).[21][25][33] Independent record labels such as California-based Not Not Fun proved influential.[34][35]

The style primarily proliferated on the Internet, especially through [cassette tape](/source/Cassette_tape) and [CD-R](/source/CD-R) sharing.[36][37][38] Some artists also owned [netlabels](/source/Netlabel) that published music coming from the scene, such as Spencer Clark's Pacific City Sound Visions,[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] James Ferraro's New Age Tapes and Muscleworks Inc.,[1] along with Xiphiidae's Housecraft Recordings.[20][19][28] Ferraro used New Age Tapes primarily for small-run releases of his own work on CD-R and cassette.[1] Additionally, several writers have used terms such as "post-noise psychedelia",[21][39][5] "post-noise underground,"[40][41][42][6] "lo-fi post-noise underground,"[43] "post-noise drone,"[44] "post-noise music,"[17][1] and "post-noise pop".[45][46][30] Graham used the phrase "post-noise fringe pop",[47] while writers Emilie Friedland and Eldritch Priest used the phrase "lo-fi post-noise psychedelia".[2][18]

In 2010, music critic [Simon Reynolds](/source/Simon_Reynolds) referred to Lieven Martens as a "a prominent figure in the international post-noise network catalysed by the Skaters."[28] A close relationship existed between New Age Tapes and [David Keenan](/source/David_Keenan) and Heather Leigh Murray's [Glasgow, Scotland](/source/Glasgow)-based record shop, [distribution company](/source/Distribution_(marketing)), and record label [Volcanic Tongue](/source/Volcanic_Tongue).[1] The Volcanic Tongue shop enabled James Ferraro's UK and European audience to obtain physical copies of his music.[1] The relationship between New Age Tapes and Volcanic Tongue was facilitated by the Internet.[1]

#### Hypnagogic pop and new-age music

Main articles: [Hypnagogic pop](/source/Hypnagogic_pop) and [New-age music](/source/New-age_music)

[Ariel Pink](/source/Ariel_Pink) performing in 2007

David Keenan's *Childhood's End* article from 2009 coined the term "hypnagogic pop" referring to "[hypnagogia](/source/Hypnagogia)", the psychological state "between waking and sleeping, liminal zones where mis-hearings and hallucinations feed into the formation of dreams."[48] Simon Reynolds credited a comment made by James Ferraro with inspiring the use of the term "hypnagogic".[49] In December 2010, writer Ed Jupp acknowledged the article and a debate surrounding it in a review of [Twin Shadow](/source/Twin_Shadow)'s *[Forget](/source/Forget_(Twin_Shadow_album))*:[50]

[...] the advent of artists like [Neon Indian](/source/Neon_Indian), Emeralds, and [Ariel Pink's Haunted Graffiti](/source/Ariel_Pink's_Haunted_Graffiti) (the latter labelmates of Twin Shadow) have started a seachange in thinking about 80s [AOR](/source/Album-oriented_rock), particularly when filtered through a post-noise and [shoegazing](/source/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](/source/NME).

According to Keenan, hypnagogic pop "takes New Age at its word, as legitimate [devotional music](/source/Devotional_song) filtered through the particular ethos of the time."[6] Keenan acknowledges that "it's vaguely serendipitous that the post-Noise underground would finally find its [spiritual](/source/Spirituality) side in New Age music and 1980s [pop culture](/source/Popular_culture)," but argues that they allow for "true creative freedom."[6] In Keenan's view, new-age music's "[punk](/source/Punk_rock)" simplicity makes it a "readymade [DIY](/source/Do_it_yourself) form of devotional process."[6] Hypnagogic pop has been described as growing out of post-noise music or the post-noise underground.[17][40]

In 2009, writing for *[Tiny Mix Tapes](/source/Tiny_Mix_Tapes)*, writer Elliott Sharp reviewed the album *Crowded Out Memory by* Caboladies, stating that the group "navigate post-[Skaters](/source/The_Skaters_(band)) all-night pizza club and arcade terrains".[51] Further adding that the album was one of the best representatives of hypnagogic pop which was described as a "mysterious post-noise persuasion".[51] That same year, *[The New Yorker](/source/The_New_Yorker)* highlighted "glo-fi," "chillwave" and "hypnagogic pop" as new terms, while citing the group [Small Black](/source/Small_Black) as standing out as one of the "talented gems".[44] The group were described as "warm nostalgic experiments in post-noise drone and shimmering pop."[44]

#### Nu-new age and neo-kosmische

Main articles: [Nu-new age](/source/Nu-new_age) and [Neo-kosmische](/source/Neo-kosmische)

In 2016, *[Fact](/source/Fact_(UK_magazine))* magazine published an article written by Adam Bychawski regarding an emerging revival of new-age music. Bychawski noted that by the end of the twentieth century, "listeners’ appetite for the genre had waned," but it had an "afterlife" among some artists, including from the post-noise scene, "not long after [new-age] faded from public consciousness."[10] These "post-noise converts" to new-age included Emeralds, Stellar Om Source, and Oneohtrix Point Never.[10] The style has been referred to as "[nu-new age](/source/Nu-new_age)".[52] Other artists who have been associated with the style include James Ferraro and Dolphins Into the Future.[28][53][54] Independent record label Leaving Records was labelled a "bastion" of the movement.[52]

Additionally, [neo-kosmische](/source/Neo-kosmische) emerged as a style of music used to refer to post-noise[55][21] groups such as [Emeralds](/source/Emeralds_(band)),[56] who "prompted a wave of [millennial](/source/Millennials) interest in kosmische Musik ([Deuter](/source/Deuter), [Klaus Schulze](/source/Klaus_Schulze), [Cluster](/source/Cluster_(band)) et al)".[57] The term was also used by *[Pitchfork](/source/Pitchfork_(website))* to label Brooklyn band Titan.[58] According to *[the Village Voice](/source/The_Village_Voice)*, around 2006, Lopatin stated that the [Brooklyn noise scene](/source/Brooklyn_noise_scene) began to discuss the work of Klaus Schulze.[59] Initially Lopatin was considered an outcast in the scene for introducing "'70s cosmic trance music and '80s [new age](/source/New-age_music)" into noise music.[59] However, Emeralds and other acts felt a "boredom with noise, a sense we'd *done* it: We *get* this emotion".[59]

In 2012, neo-kosmische would be used as a term by British magazine *[Fact](/source/Fact_(UK_magazine))*.[60] That same year, Canadian magazine *[Exclaim!](/source/Exclaim!)* referred to [Daniel Lopatin](/source/Daniel_Lopatin) on the collaborative album *[Instrumental Tourist](/source/Instrumental_Tourist)* as "neo-kosmische noodling".[61] By December, *[The Quietus](/source/The_Quietus)* published a review of Bee Mask's *When We Were Eating Unripe Pears* by Rory Gibb, where he associated the term "neo-kosmische" with post-noise, stating "Of all the neo-kosmische/post-noise explorers whose balmy currents have lapped at our shores over the past few years, Chris Madak is among the few who seem hellbent on mapping out genuinely new territory."[62][63] *Pitchfork* stated that Lopatin "was at the vanguard of the American noise scene in the hazy years when it retreated from [feedback](/source/Audio_feedback)-soaked harshness into an unkanny kosmische".[64][65]

### Vaporwave and development

See also: [Vaporwave § Eccojams](/source/Vaporwave#Eccojams)

[Daniel Lopatin](/source/Daniel_Lopatin) contributed to the development of [vaporwave](/source/Vaporwave)

Oneohtrix Point Never (Daniel Lopatin) has been cited as emerging from the post-noise scene.[1] In 2010, he released the album *[Chuck Person's Eccojams Vol. 1](/source/Chuck_Person's_Eccojams_Vol._1)* under the pseudonym Chuck Person. The album would coin a style of music known as "[eccojams](/source/Eccojams)" which would later develop into the larger [vaporwave](/source/Vaporwave) microgenre and movement.[66] That same year, Lopatin stated "I've got more in common with the American noise scene, to be honest."[67]

On December 4, 2018, *[University of California Press](/source/University_of_California_Press)* published a research paper which stated that [vaporwave](/source/Vaporwave) shared "ties to the trends of 2000s lo-fi and post-noise music, such as 'hypnagogic pop'".[3][68] In 2025, *[Pitchfork](/source/Pitchfork_(website))* stated in a retrospective review:[66]

[Lopatin] was at the vanguard of the American noise scene in the hazy years when it retreated from [feedback](/source/Audio_feedback)-soaked harshness into an unkanny [kosmische](/source/Kosmische). Alongside artists like Emeralds, Yellow Swans, Skaters, and Carlos Giffoni, noise music was starting to sound less like [Texas Chain Saw massacre](/source/The_Texas_Chain_Saw_Massacre) and more like [Tarkovsky's](/source/Andrei_Tarkovsky) [Stalker](/source/Stalker_(1979_film))—and Lopatin was quietly training to become the house DJ for the "Zone."

On September 15, 2009, Keenan published an email interview with Lopatin titled *This Beat Is Hypnagogic*. In the interview, Lopatin drew a parallel between the relationship of post-noise and [noise music](/source/Noise_music) and that of [post-punk](/source/Post-punk) and [punk rock](/source/Punk_rock), arguing that both involved a re-evaluation and expansion of styles he viewed as "stifling, didactic and kinda trad".[16] He suggested that post-punk faced criticism from early punk scenes due to its associations with Black and [queer cultures](/source/Queer_culture), and characterized first-generation punk as " just [rockers](/source/Rockism_and_poptimism) with trashier aesthetix [*[sic](/source/Sic)*] (punk rock-rock inertia undiluted)".[16] Lopatin applied this framework to noise and post-noise, contrasting what he described as a "macho" strain of noise with post-noise practices that subverted it.[16] While citing Spencer Longo's description of noise as a form of rock spectacle (referencing [Hanatarash](/source/Hanatarash)'s use of a [bulldozer](/source/Bulldozer) and the slicing of a dead cat in half).[16] Lopatin argued that post-noise represented a move away from masculinist conventions in the genre, stating "Goodbye macho sigs, goodbye noise for dudes only."[16] He would also state that "Hpop operates as a function of [post-noise] pnoise and pop both — and deals acutely with nostalgia as a medium by which we generate present day variety. It's postmodern as fuck and its been happening for a long while now. Sonically, a new ageian [pan flute](/source/Pan_flute) preset with chorus function-ON presented as a method by which one might deliver a sublime no-mind drone situation works in a pnoise context".[16]

In 2010, Lopatin stated in reference to the group Double Leopards, that "It was droning put into the context of extended jamming. But it was really un-macho – they used to sit down and play. We called it floorcore. It was super-reverby, gauzy and dark."[67] At the time, Lopatin had coined the term "[floorcore](/source/Floorcore)" to describe a previous group he was in and style of music he performed.[69][67]

In 2011, *Tiny Mix Tapes* reviewed James Ferraro's album *[Inhale C-4 $$$$$](/source/Inhale_C-4_%24%24%24%24%24)* which was released as [BEBETUNE$](/source/BEBETUNE%24), writer Jonathan Dean highlighted audience perception of Ferraro's music from his early work through *[Far Side Virtual](/source/Far_Side_Virtual)*, stating that there was "a growing rank of malcontents who have greeted Ferraro's sudden leap from the lo-fi post-noise underground to lurid HD postmodernity with skepticism or contempt."[43]

That same year, writing for *[Drowned in Sound](/source/Drowned_in_Sound)* in a review of [Laurel Halo](/source/Laurel_Halo)'s album *Hour Logic* released on the independent record label [Hippos in Tanks](/source/Hippos_in_Tanks), Rory Gibb stated:[30]

2011 was a year when the formless stews of US post-noise pop began to crystallise out into warped proto dance music. Not Not Fun's 100% Silk label put out a series of dancefloor 12"s with mixed results, Olde English Spelling Bee's Stellar OM Source has started making droney acid-flecked house - and Laurel Halo put out Hour Logic, a stunning six tracker that nodded equally towards eighties [synth-pop](/source/Synth-pop), early [Detroit techno](/source/Detroit_techno) and Oneohtrix-styled synthesiser music. But it was anything but retro - in the vocal-driven swoon of 'Constant Index', and the electric blue crackles of the title track, far more modern concerns were expressed: web age connectivity vs. bedroom-locked loneliness, the rapid-fire advance of modern technology, the utopian promises ushered in by the digital age.

In 2019, [Nashville, Tennessee](/source/Nashville%2C_Tennessee) artist River Everett founded Retrac Recordings,[70] a DIY label active between 2019 and 2025 which released and reissued "past, present, and future internet cult classics," described as ranging from "analog bliss to digital psychedelia," on cassette tape, CD and [vinyl](/source/Phonograph_record).[71][72] Her ambient and new age project New Mexican Stargazers drew heavy inspiration from the work of James Ferraro and Spencer Clark.[71] Her work under Bagel Fanclub, a musical duo between Everett and Caybee Calabash, has been characterized as spanning "post-noise [pastiches](/source/Pastiche) and dense [braindance](/source/Braindance)."[70][73]

## See also

- [Minimal music](/source/Minimal_music)

- [Harsh noise](/source/Harsh_noise)

- [Crimson Wave (music)](/source/Crimson_Wave_(music))

- [Brooklyn noise](/source/Brooklyn_noise)

## References

1. ^ [***a***](#cite_ref-:5_1-0) [***b***](#cite_ref-:5_1-1) [***c***](#cite_ref-:5_1-2) [***d***](#cite_ref-:5_1-3) [***e***](#cite_ref-:5_1-4) [***f***](#cite_ref-:5_1-5) [***g***](#cite_ref-:5_1-6) [***h***](#cite_ref-:5_1-7) [***i***](#cite_ref-:5_1-8) [***j***](#cite_ref-:5_1-9) [***k***](#cite_ref-:5_1-10) [***l***](#cite_ref-:5_1-11) [***m***](#cite_ref-:5_1-12) [***n***](#cite_ref-:5_1-13) [***o***](#cite_ref-:5_1-14) [***p***](#cite_ref-:5_1-15) [***q***](#cite_ref-:5_1-16) [***r***](#cite_ref-:5_1-17) [***s***](#cite_ref-:5_1-18) Graham, Stephen (2019). *Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music* (4th ed.). United States of America: University of Michigan Press. pp. 8, 170, 185, 207, 212. [ISBN](/source/ISBN_(identifier)) [978-0-472-12164-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-472-12164-9).

1. ^ [***a***](#cite_ref-FOOTNOTEPriest2013159_2-0) [***b***](#cite_ref-FOOTNOTEPriest2013159_2-1) [***c***](#cite_ref-FOOTNOTEPriest2013159_2-2) [***d***](#cite_ref-FOOTNOTEPriest2013159_2-3) [***e***](#cite_ref-FOOTNOTEPriest2013159_2-4) [Priest 2013](#CITEREFPriest2013), p. 159.

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## Bibliography

- Graham, Stephen (2016). *Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music*. Ann Arbor, Michigan: [University of Michigan Press](/source/University_of_Michigan_Press). [ISBN](/source/ISBN_(identifier)) [978-0-472-11975-2](https://en.wikipedia.org/wiki/Special:BookSources/978-0-472-11975-2).

- Reynolds, Simon (2011a). *Retromania: Pop Culture's Addiction to Its Own Past*. London: Macmillan + ORM. [ISBN](/source/ISBN_(identifier)) [978-1-4299-6858-4](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4299-6858-4).

- [Whiteley, Sheila](/source/Sheila_Whiteley); Rambarran, Shara (2016). *The Oxford Handbook of Music and Virtuality*. Oxford: [Oxford University Press](/source/Oxford_University_Press). [ISBN](/source/ISBN_(identifier)) [978-0-19-932128-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-932128-5).

- Trainer, Adam (2016). ["From Hypnagogia to Distroid: Postironic Musical Renderings of Personal Memory"](https://books.google.com/books?id=C1wFCwAAQBAJ&pg=PA409). *The Oxford Handbook of Music and Virtuality*. Oxford University Press. [ISBN](/source/ISBN_(identifier)) [978-0-19-932128-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-932128-5).

- Priest, Eldritch (2013). *Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure*. Bloomsbury Academic. [ISBN](/source/ISBN_(identifier)) [978-1441124753](https://en.wikipedia.org/wiki/Special:BookSources/978-1441124753).

- Spiegel, Maximilian Georg (2012). [*Gender construction and American 'Free Folk' music(s)*](https://phaidra.univie.ac.at/api/object//o:1282486/download). University of Vienna.

v t e Psychedelic music Genres By prefix and style Psychedelic Folk New Weird America Freak folk Free folk Funk Pop Hypnagogic pop Post-noise Hip-hop Cloud rap Trip hop Rock Baggy Madchester Krautrock Neo-psychedelia Dream pop Shoegaze Blackgaze Grungegaze Nu gaze Shitgaze Zoomergaze Space rock Stoner rock Soul Cinematic soul Trance Goa trance Nitzhonot Psydub Suomisaundi Acid House Punk Rock Techno Trance Other Chillwave Vaporwave Dream-beat Freakbeat Italian occult psychedelia Sampledelia Synthedelia Subcultures Beat Generation Cannabis culture Counterculture of the 1960s Deadhead Flower power Flower child Freak scene Grebo Hippies Jam band New Age travellers Rave culture Second Summer of Love Summer of Love New Age travellers Woodstock Nation Scenes and movements UK underground Texas psychedelia Bosstown Sound San Francisco sound Tropicália Zamrock Paisley Underground La Onda Lists Acid rock artists Neo-psychedelia artists Psychedelic folk artists Psychedelic pop artists Psychedelic rock artists See also Psychedelic rock in Australia and New Zealand Psychedelic rock in Latin America Psychedelia Psychedelic art LSD art Psychedelic drug Psychedelic era Psychedelic experience Psychedelic literature Category:Drug culture Category:Hippie movement Category:Psychedelic musical groups

v t e Electronic music Electronic dance music · Electronica Genres by decade of origin Early Amplified guitar Electric blues Hawaiian guitar Jùjú Rock List of rock genres Western swing Biomusic Computer music Electroacoustic music Acousmatic music Musique concrète Tape music Elektronische Musik Live electronics Noise Sound system (Jamaican) Space age pop 1960s Ambient Drone Dub Electronic rock Jazz-funk Kosmische Musik New-age music Biomusic Nu-new age Neoclassical new age Space music Space rock Progressive rock Psychedelic music Psychedelic funk Psychedelic rock Sampledelia 1970s Afro/cosmic music Space disco Boogie Chiptune Dancehall Electropunk Eurodisco Hi-NRG Industrial Industrial rock Japanoise New wave Post-punk New musick Cold wave Dance-punk Dark wave Minimal wave Post-disco Dance-rock Italo disco Reggae fusion Synth-pop 1980s Alternative dance Baggy Ambient pop Breakbeat Florida breaks Contemporary R&B New jack swing Dark ambient Dubtronica Electro Freestyle Electro-industrial Electronic body music Electropop Dance-pop Ethnic electronica Funk carioca Kuduro Kwaito Tecnocumbia Turbo-folk Eurobeat Eurodance Grebo House Acid Ambient Balearic beat Chicago Deep Garage Funky Italo Jersey sound Hip house Latin Tech Tribal Industrial hip-hop Industrial metal Martial industrial Miami bass New beat Power electronics Ragga Sophisti-pop Synth-metal Techno Acid techno Bleep techno Detroit techno Tracker music Ambient House 1990s Ambient dub Ambient techno Asian underground Baltimore club Bhangragga Big beat Bitpop Breakbeat hardcore Darkcore Happy hardcore Toytown techno Broken beat Changa tuki Dark electro Denpa song Digital hardcore Disco polo Diva house Hardbag Downtempo Bristol sound Psybient Trip hop Drum and bass Heavy Darkstep Hardstep Neurofunk Techstep Jungle Ragga jungle Light Atmospheric Intelligent Jazzstep Liquid funk Dub techno Dungeon synth Electroclash Folktronica French house Nu disco Funkot Futurepop Ghetto house Footwork Ghettotech Glitch Hardcore Belgian techno Bouncy techno Breakcore Free tekno Frenchcore Gabber Hardstyle Lento violento J-core Mákina Speedcore Harsh noise wall Illbient Indietronica Industrial techno Intelligent dance music Drill 'n' bass Kidandali Livetronica Merenhouse Microhouse Minimal techno Schaffel Nu jazz Electro swing Nu metal Nu skool breaks Post-rock Power noise Progressive house Psydub Reggaeton Dembow Trance Acid Balearic Dream Goa Hands Up Hard Progressive Psy Tech Uplifting Vocal UK garage 2-step Breakstep Speed garage UK hard house Hardbass Hard NRG 2000s Afrobeats Bassline Budots Bloghouse Christian electronic dance music Cloud rap Coupé-décalé Crunk Crunkcore Dancehall pop Dubstep Reggaestep Electro house Complextro Dutch house Fidget house Electronicore Future garage Grime Grindie Hauntology Hypnagogic pop Chillwave Glo-fi Jersey club Juke house Jumpstyle Mainstream hardcore Nightcore Nintendocore Nortec Phonk Post-punk revival New rave Rabòday Reductionism Lowercase Onkyokei Russ music Sambass Shangaan electro Skweee Synthwave Sovietwave Tecno brega Trival UK bass UK funky Funkstep Vocaloid music Witch house Wonky Wonky pop 2010s Afroswing Algorave Amapiano Azonto Big room house Black MIDI Brazilian bass Bro-country Deconstructed club Dreampunk Funktronica Future bass Kawaii future bass Future house Future soul Hyperpop Gqom Jungle terror Lofi hip-hop Mahraganat Melbourne bounce Moombahton Moombahcore Moombahsoul Mumble rap Outsider house Plugg Post-dubstep Brostep Riddim Rara tech Seapunk Shamstep EDM trap Tropical house Vaporwave Slushwave Slowed and reverb Mallsoft Signalwave Eccojams Vapor Fashwave Juchewave Simpsonwave Barber beats Vaportrap Utopian virtual Vapornoise Future funk Hardvapour Late night lo-fi VHS pop Wave Hardwave Weird SoundCloud HexD Digicore Sigilkore Rage Lowend Jerk 2020s Drift phonk Plugg microgenres Diary plugg Hyperplugg Dark plugg Ambient plugg Terror plugg Jerk Other topics Culture Beat drop Club drug Disc jockey DJ mix Sound system Turntablism Mashup Microgenre Nightclub Rave Acid house party Circuit party Doof EDM festival Free party Teknival Remix Sampling Plunderphonics Rare groove Riddim Street dance House dance Rave dance Genres Bass music Celtic fusion Chill-out music Lounge music Disco Doujin music Lo-fi music Madchester Progressive electronica Rave music Reggae Sound collage Video game music Adaptive music Tools Bass Data sonification Digital audio workstation Drum break List Electronic musical instrument Drum machine Sampler Synthesizer Electronics in rock music MIDI Music technology (electronic and digital) Recording studio as an instrument Lists of dance musicians

v t e Experimental music Related contemporary classical music genres Aleatoric indeterminacy Avant-garde Drone Electroacoustic Acousmatic music Tape music Minimal Musique concrete Noise Danger Experimental popular music genres By style Avant-garde jazz Avant-garde metal Post-metal Avant-pop Avant-prog Avant-punk Biomusic Deconstructed club Experimental pop Experimental rock krautrock math rock neo-prog no wave noise rock post-punk post-rock Intelligent dance music Neofolk Wave Related Art pop Art punk Art rock Avant-funk Ambient Drone metal Free improvisation Free jazz Glitch Hyperpop Industrial Progressive jazz Punk jazz Witch house Extended techniques 3rd bridge Circuit bending Frippertronics Plunderphonics Prepared guitar Prepared piano Scordatura Turntablism Related concepts Cymatics Dada Data sonification Experimental musical instrument Experimental luthier Fluxus Progressive music Sound art Sound collage Sound installation Sound sculpture Soundscape Electroacoustic improvisation Events and lists List of experimental music festivals List of electronic music festivals List of experimental musicians

v t e Hauntology Writers Jacques Derrida Mark Fisher Simon Reynolds Music genres Post-noise Hypnagogic pop Chillwave Italian occult psychedelia Vaporwave Other topics Cultural memory Eternal return Lo-fi music Nostalgia consumption Remnant (Bible) Retrofuturism Revivalism (architecture) Specters of Marx Ghost Dance (film) Postmodern music

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Adapted from the Wikipedia article [Post-noise](https://en.wikipedia.org/wiki/Post-noise) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Post-noise?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.