Meaning: This quote is attributed to Daisy Berkowitz, a musician known for his work as the guitarist and co-founder of the band Marilyn Manson. The quote suggests the diversity and experimental nature of the tracks on the next album. The mention of "mostly noise and feedback" indicates a departure from traditional musical structures and a willingness to explore unconventional sounds. This aligns with Berkowitz's reputation for pushing boundaries in his music.

In the context of music, "noise" typically refers to unconventional or abrasive sounds that may not adhere to conventional notions of melody or harmony. "Feedback" can refer to the deliberate use of audio feedback, a technique that involves creating a loop of sound by placing a microphone in front of a speaker. Both noise and feedback have been utilized as artistic elements in various musical genres, including experimental, industrial, and avant-garde music.

The mention of "guitar parts and samples" in other tracks suggests a contrasting approach, indicating that the album will also feature more traditional musical elements alongside the experimental noise and feedback. This blend of traditional instrumentation with electronic samples reflects the increasing fusion of analog and digital elements in contemporary music production. It also hints at the potential for diverse sonic textures and layers within the album's tracks.

Berkowitz's statement underscores the artistic freedom and exploration that musicians often seek in their work. By embracing noise, feedback, and unconventional sounds, he signals a departure from formulaic or predictable musical structures. This aligns with the ethos of many experimental and avant-garde musicians who prioritize creativity and innovation over commercial considerations.

In the broader context of music history, the use of noise and feedback as deliberate artistic elements has been influential in shaping various genres. From the pioneering experiments of artists like John Cage and the early electronic music of the mid-20th century to the emergence of noise rock and industrial music in the late 20th century, the deliberate incorporation of unconventional sounds has challenged traditional notions of musicality and expanded the sonic possibilities available to artists.

Berkowitz's willingness to incorporate noise and feedback into the upcoming album also reflects a broader trend in contemporary music, where artists increasingly blur the boundaries between musical genres and styles. The embrace of unconventional sounds and techniques has become a hallmark of avant-garde and experimental music, as well as a source of inspiration for artists working across diverse genres.

In conclusion, Daisy Berkowitz's statement about the tracks on the next album highlights the potential for a diverse and experimental sonic landscape. By incorporating noise, feedback, guitar parts, and samples, he suggests a willingness to explore unconventional sounds and push the boundaries of traditional musical structures. This approach aligns with the ethos of experimentation and innovation that has characterized avant-garde and experimental music, while also reflecting the evolving landscape of contemporary music production.