Portland, Oregon's experimental noise scene gets its portrait through dozens of interviews with the musicians who make it, from Smegma and Yellow Swans to god and Argumentix. The film treats noise not as chaos but as craft: homemade instruments, manipulated electronics, and sounds ranging from dirty squeals to robotic pulses, some tightly controlled and some left to run on their own once the circuit is built. Musician Sisprum Vish traces his interest back to childhood, recording cartoons and slowing the tape down just to hear what happened to the sound. Redglaer talks about feedback and mistakes as the actual center of his work, calling the wrong thing the point. Interviews are cut against performance footage, letting the musicians explain their reasoning in something closer to the language of physicists discussing physics than pop songwriters discussing hooks. No labels, no tours, no crossover ambitions structure this world; the seriousness the musicians bring to a genre most people can't listen to is the film's real subject.