In this chapter, I explore in equal parts the listening of noise music beyond the scope of whiteness and the ability of the genre to challenge practices of racialization that get in the way of that listening. To do so, I return to my initial exploration of noise as a musical gesture, exploring how noise musicians can embrace the affective technology to challenge a dominant status quo of whiteness. I also draw on research into a wide range of Afrodiasporic musical traditions by scholars such as Floyd, Moten, and Rose to understand how noise music may draw inspiration from this body of musical work. Noise music and the Black avant-garde in particular have remained (at least aesthetically) interconnected throughout the development of the former, with free jazz and experimental musicians providing a clear influence on noise music. To further analyze the connection between the two genres, I conclude the chapter with a close listening of clipping’s Splendor & Misery, an album that uses noise as a means to investigate the overlap between Afrofuturist and Afropessimist theory.