Gilles Aubry presents elements from his sonic research in Christian charismatic churches in Kinshasa, Democratic Republic of Congo. He explores the noise aesthetics of religious sound practices involving audio amplification, feedback, distortion and recording technologies. His documentation includes spiritual services, predications, sound-checks, rehearsals, a church video-archive, and film-soundtracks, as well as the preparation of an evangelization campaign in the city center. In focusing on the material aspects of sound, Aubry finds traces which attest to the complex relationships between Christian faith, traditional beliefs, neo-colonial representations and urban politics in Central Africa. At the same time, the research opens a parallel with the aesthetics of “first-world” noise music.