Derail away, my friend!
I'm just listening to "Eyelash Fountain" as I'm writing this and it's really well put together. Everything has its own space in the mix, and those little chopped up paradiddles sound beefy as fuck while avoiding that horrible 'boxy' sound in the lower mids. I know production values aren't often a big deal in noise, but there's a 'sheen' to your work here that I really like. It's got that Dadaist vibe, but presented in a more, for want of a better word, futuristic or modern way; modern musique concrete, with humour. Hahahaha!
I've had a read through the beat-related thread that was linked earlier, but there, unsurprisingly, doesn't seem to be any consensus on the subject. It does seem like some people enjoy the martial beat sort of style or compound time/erratic beats, rather than metered 4/4 stuff which, given the context, makes sense to me. I had played around with 4/4, almost parodic gabber on a track years ago but, listening to it now, it's just predictable, dull and shows a beginner at work.
As for why people don't really seem to like the 4/4 beat, or at least a 'commercial' beat/break/loop in noise: I suspect it's largely rooted in our love of the irregular and transgressive.
To me, it's something that needs to be done right or not done at all. Having the amen break, chopped up and replayed at 200bpm then fired through a fuzz pedal doesn't make for 'good' noise.
4/4 represents the beat of the factory floor; of pedestrian footsteps. Those of us fascinated by noise and experimental music seem to be drawn away from that, both in our music and lives. There's probably a whole deep philosophical discussion to be had, but the simple answer would be that "the beat" represents the musical conventions that we, as noise artists, seek to transcend.
