To lay the theoretical groundwork for the rest of the book, I explore the relationship between noise and the abject, focusing on the use of noise as a musical gesture in particular. To do so, I begin with a brief overview of the abject and its legacy within both art history and feminist studies. After establishing an affective understanding of the term, I draw on the growing (and often dissonant) body of literature on noise to further examine the inherent connections between noise and the abject. Placing abject and noise literature in conversation, I define noise as the reclamation and redeployment of abject sonics. I then use this definition to further explore the role of abjection within noise music while contending with critiques of the abject as embodied by the genre. In the addendum, I expand on my critical reading of noise-via-the abject by analyzing albums from CON-DOM and Moor Mother, considering how they approach the ethics of the abject in relation to the body within their music.