> For the complete documentation index, see [llms.txt](https://thdbd.gitbook.io/thdbd/llms.txt). Markdown versions of documentation pages are available by appending `.md` to page URLs; this page is available as [Markdown](https://thdbd.gitbook.io/thdbd/pop/noise-pop.md).

# 噪音流行Noise Pop

作为另类/独立摇滚的一个分支，Noise Pop顾名思义就是有一些吉他回馈、音调不谐和声音磨损包装风格的流行音乐。它占据了介于Bubblegum（泡泡糖摇滚舞曲）和Avant-Garde（前卫音乐）的中点，是传统流行乐创作手法和略富攻击性的白色噪音（White Noise：用以掩盖令人心烦的杂音）的碰撞结果。

当Noise Pop的旋律飘忽于涡旋吉他所营造的声场中时，其音乐经常会给人一种朦胧、麻醉和催眠的感觉，当然Noise Pop可以是欢快活泼的，也可以是棱角分明、富有挑战性的。

最早期的Noise Pop植根于the Velvet Underground的诸如回馈、失真等音乐实验，然而更被公众认同的Noise Pop起源乐队是美国另类摇滚乐队Sonic Youth和Dinosaur Jr.，是他们将摇滚乐构架与粗重的吉他失真融合在了一起。第一支正规意义上的Noise Pop乐队则是the Jesus & Mary Chain，它以1986年的首张唱片Psychocandy崛起于地下，几乎同一时期还诞生了可以说是最多产和最具生命力的Noise Pop乐队Yo La Tengo，其首张专辑也于此时推出。

在80年代末，Noise Pop引发了英伦的Shoegazing（自赏）运动，自赏音乐更加内省，其旋律更加脆弱。在90年代，Noise Pop仍继续对Indie Rock产生着重要的影响。

Noise Pop is a vague term used to describe a wide range of bands who use the feedback and distortion of Noise in a Pop context.

Although the two often overlap each other, Noise Pop is generally considered more accessible than Noise Rock. The genre commonly features more melodic singing and vocal-based harmonies. In keeping with the loose theme of accessibilty, the structures and presentation of the songs are often less experimental. The genre came into its own in the mid-80s following the Post-Punk boom, with bands like The Jesus and Mary Chain, My Bloody Valentine, Pixies, and Pavement defining its sound.