Debris

tw: anxiety, death, agoraphobia

Listening to drone around friends and family has elicited reactions like, “Do you actually enjoy listening to this?” and “How is this even music?” (Which is a brief reminder that “not an [art]” isn’t necessarily a videogames problem (though in games people have a consistent indignation and a noted immaturity, blah blah etc.)) I understand the absence of immediate appeal. Drone is unmelodic and very slow. Noise music in the first place counters the purpose of pleasurable listening and drone adds a lack of momentum. It’s like a progression and smoothing of fan sounds, a molasses distortion of a motor, a pop and crease of a heater. Sounds that aren’t meant to strictly hold someone’s attention or to entertain. Drone presents a space to subsist in, to bring texture to the frame of mind alongside contexts and processes that result in listening to it. Meditative music, in other words, but especially toward existing in the present and being with machines.

This softening of futurism is of course exactly why one would listen to drone. A music which focuses on a consideration of progress, rather than common expressions of lashing out against, or celebrating, the conditions we’ve found ourselves in. Minimalistic and unharsh, it’s music that beckons in a listener, to allow one to float and feel each slight change. Feel the reverberations of our modern world. I think drone music actually avoids pressing in on our conscious boundaries, avoiding the aggression and overwhelming expression in other styles of recorded noise. Because it’s constructed to hold in slight terror, sensations of being suspended, it effectively cradles modernity. Drone is truthfully gentle music despite what it tends to evoke, allowing someone to expand their feelings with it, instead being held hostage or lectured to.

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