Drone music is the sound of death…

Nightmare Music: Cryo Chamber

Drone music is the sound of death…  we assume that if we ever do experience apocalypse, it will be just as we are about to disappear.

—Joanna Demers,  Drone and Apocalypse

The Curators of Impossible Dreams will one day uncover the dead cities below the layers of ash and water, discover the traces of miraculous destinies that abruptly ended in the deserts of time. Vast installations and exhibits of the Apocalypticos Verum Grimorium will pervade the desolate dronescapes of alien music’s. A literature of the void, the stillborn silences of the radioactive nightlands distilled into pure layers of sound vibrating under the pulsation of death and entropy will rise from the graveworlds of forgotten desires. Voluptuous loops, templexities of unbidden travelers,  will bring to light the decayed antics of comic fatalists who lived in the ruins of time revoking only the truth of their own complicity in the coming event. Brokers of holocausts these timetravelers will speak not a word, give no forecasting of the nightmares to come, unleash no epidemics upon the masses of unsuspecting prey. Watchers of the coming apocalypse — these brave travelers from times beyond times, immanent only to the loops of their forbidden games, will record in minute detail the artistic passage of this dark implosion of futurity. Bound by algorithmic codes we cannot even envision the watchers will roam among us like guests at a fatal banquet, members of a gnostic sect — knowers who know and are known by the future power of this transitory affair, this spectacle of the void.

We who for so long sought the impossible, dreamed of the unknown — seekers of the rims and far horizons, the unmapped, the wildernesses of the void will find it at last in the very moment of our vanishing. Having struggled blindly for so many millennia, bound to the fatal attraction of leaders compulsions to roam farther and farther into the unknown we will succumb at last to the final desert of time itself. Reaching the emptiness of the last thought we will wake up from our long sleep and know that the end has arrived, an end foretold, foreknown; inscribed in the very markings of our memories, below the curvature of those ancient songlines of the neural valences of microcells of DNA, the genetic footmarks of primordial seas born in us with such remote and indescribable music of decay and corruption. The repeating chords of an old song that never had a meaning, keeps returning out of that silence where time intersects the cone of desire. Neither an arrow nor its reversal can stay the coming apocalypse of desire. Robert Burton and Isadore of Seville would inventory the apocalyptic moments, construct vast lists of the melancholic music of time, deliver its unique voices, resonances — the manic preludes to events that might never be or that have already happened.

Games of distraction, trivial pursuits, blinding gestures of inanity — politics, literature, philosophy, love, and economics: the banal pursuit of dysphoria, delusion, and delirium in the face of the coming death of the human. Etymologies of disaster, cross referencing databanks of the bittersweet goodbye of human kind; the broken world revealed in the momentary tracings of nightmare and strange fantasias. Disgust, ugliness, cynicism: the trifold sisters of the coming age — those who would show us the face of our face, the monstrous truth behind the mask; that there is nothing there, absolutely nothing. Here even laughter is nothing but an entry into nihil… Even the hopeless is beautiful in such a world of fragmentation and utter decay. Is that, too, illusion, delusion? There will be no writings after the fact, no exclamation points beyond the Zero hour of the fugue: apocalypse is neither an end nor a revelation; it is both end and an unveiling of that which is not but is already under erasure: the elimination of the very figure and ground of those uninterpretable signs or figuras that demarcate the lack that spawns all desire. And, yet, in what it purports to unveil desire the end holds promise of that violence and terror of the self, of the desperate attempts to escape the traps of all that is now and can be, the moment of thought and being without us. An absence of absence? Who will remain to think that thought of the end? Demers will ask: “How can we remain conceived of a past or a future from which we are utterly absent?“1

More importantly: What is the sound of the universe dying from the light?

  1. Demers, Joanna. Drone and Apocalypse: An Exhibit Catalog for the End of the World (p. 14). John Hunt Publishing. Kindle Edition. https://joannademers.com/

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