“If music is like a language, if it communicates some kind of emotional or spiritual message, the noise is best defined as interference, something that blocks transmission, jams the code, prevents sense being made. […] Noise then, occurs when language breaks down. […] The problem is that, to speak of noise, to give it attributes, to claim things for it, is immediately to shackle it with meaning again, to make it part of culture. […] Noise is about fascination, the antithesis of meaning. If music is a language, communicating moods and feelings, then noise is like an eruption within the material out of which we are unable to assign a meaning. […] All this depends still on the assumption that noise is a state with defined boundaries. But if noise is the point at which language buckles, culture fails, then you could argue that noise occurs in moment, tine breakages and stresses dispersed all over the surface of music, all kinds of music.” (Simon Reynolds)