This article considers the concept of a ‘language of things’, which Pierre Schaeffer developed in his early work, the Essai sur la radio et le cinema (1941–42). On the basis of a careful consideration of this text, it will appear that the ‘language of things’ engages a specific posture that shows, in the process of concrete music’s emergence, two distinct but interrelated aspects: one concerning things themselves and the other concerning language. It is this knot, this interwovenness, that we will try to understand in this article. The article will show that the promotion of noise is directly linked to the deconstruction of language and that these two processes, which can be precisely identified in Schaeffer’s early works, refer to a fundamental switch, signalling the birth of musique concrète.