As a non-geologist living next to Lake Diefenbaker (the reservoir formed by damming the South Saskatchewan River), I also like geological history.
I have a standard reply for when I'm asked why we chose to move to this "treeless wasteland". "I look out at the flat horizon and see how the glaciers planed the earth the way a woodworker flattens a board. I look around me at the river breaks and see how the meltwater from retreating glaciers carved the earth away into shapes that defy imagination." I don't know accurate any of that is, but it fits my mental model of what I was taught in high school.
(What we call the river breaks are twisted and braided networks of coulees, some with sides so steep as to require mountaineering equipment. Most still run with meltwater in the spring.)
I'll give it a crack.
As others have hinted at, it's mostly about noise. The author puts noise in quotes when referring to those qualities of sound (and lyrics?) that are normally considered noise but are exploited for aesthetic purposes.
Thus, extreme volume and heavy distortion might normally be undesirable noise when trying to faithfully reproduce a sound, they are exploited by rock music in general and, in their extreme forms, by heavy metal in particular.
A metaphorical or all-inclusive understanding of noise can be applied to the various other aspects of music (rhythm, repetition, tempo, key changes, and even lyrics). The more of these aspects are affected (the more "noisy"), the "heavier" the result.
This was not addressed in the paper, but I think that the noise has to be introduced during the creation or performance of the music. If you play back a recording in ways that distort the signal or sound, you are probably getting noise, not "noise".