To explore noise and its theoretical underpinnings. Drawing on the work of Deleuze and Guattari, I wish to argue that noise appears as a perpetual deterritorialization of music. Over the course of the twentieth century there arose an increased difficulty to distinguish music from its counterparts of silence and noise. It was not until Luigi Russolo’s 1913 essay The Art of Noises that noise was encouraged to be used in musical composition, consequently liberating musicians from the antiquity of harmony and rhythm which dominated musical discourse for centuries. Noise today can be found permeating numerous musical acts. However, my intention was to examine those artists whom present noise with no melodic retrieval, who remain with noise as noise. My main referral was the work and philosophies of Masami Akita (Merzbow) a quintessential figure within noise music. Attali suggested that music, the codification of noise and silence “prefigures new social relations.” Likewise, I wanted to examine noise as a possible marker of temporal and cultural difference. Territories and Change: Drawing on the work of Deleuze and Guattari, I argued that noise is a perpetual deterritorialization of music. Capitalism brings with it both restrictions but also the possibility to escape such restrictions. Just as the human is encouraged to live creatively within capitalism, noise artists likewise attempt to exist creatively within music, challenging conceptions of how music is to be defined and created. That is, noise artists such as Merzbow trace lines of flight in an attempt to resist stratification. In this sense I also examined noise as an example of a smooth space and a rhizome. Noise however cannot escape musical strata entirely; rather it remains within music, forever on its periphery challenging what it is we define as music. It thus seems that the ethos or idiom of noise is dependent upon musical strata. Noise therefore must remain within music as extra-idiomatic, that is, a sense from within music that it is uncontainable. In examining noise as a perpetual deterritorialization of music, I was examining a change in musical conceptions as they have been hitherto and as they may come in the wake of the possibilities opened up by noise.