Source: Bandcamp Daily.
Apocalyptic thinking is as ancient as mankind; when human beings first realized there was a future, we also realized there would be an end. The Zoroastrian Frashokereti is the oldest surviving eschatology, and surely there were others that predated it. Centuries later, Europeans in the Middle Ages felt terror toward the advent of the year 1000 that was driven by a belief that the soul would continue to live after the Apocalypse. They made prophetic music, often based on the Book of Revelations, and that creative impulse was also surely not new to man, the music maker.
In 2017, our own fears of the future are different—perhaps more terrifying precisely because they are driven by very real, corporeal dangers, like environmental disaster, pandemic, and nuclear war. And instead of music about the Apocalypse, we have music about what comes after, which is not paradise but a devastated, emptied world, cold enough, as author Cormac McCarthy wrote, to “crack stones.”
And we have our own, growing tradition of music that imagines the post-apocalyptic wasteland. Aesthetically falling under the “dark ambient” umbrella, much of this is drone-based, beat-less, and lacking any obvious human presence. Some of it is made to intentionally express that humanity has no future, some subconsciously broadcast terrors from the zeitgeist, all of it reflects our contemporary expectations for the future.