Through deep listening, field recording, vocal practice, and composition with audio software (mainly Ableton), I explore what happens when one decides to stay with the noise for a while. Through this project, I observe my own as well as the audience’s physical and emotional responses to sounds often regarded as “noise” or “sonic pollution” as well as white noise and, through performative vocal practice and composition, suggest alternative readings of noise which evoke new associations and corporeal sensations. Using field recordings of sounds commonly considered nuisances or threats to health - such as engines, alarms, sound systems, industrial sounds, and hums of air-conditioners and generators, I wish to compose pieces that transcend ideas of pollution and nuisance and stimulate the sensory, and emotional and visual imaginary, in the hopes of inspiring conscious ways of listening in our urban environments. By integrating elements from the sonically “polluted” urban environment and using them as compositional material I want to open up reflection and discussion about sociability and mental health in the city. Which sonic hierarchies can be heard in cities? What do they tell us about economic and social injustices? Which tools and strategies do people apply to cope with sensorial and specifically sonic overload in urban and industrial environments?