In 2018, drone is everywhere, from Twin Peaks to Whitney Houston.

The feeling of absolute suspension in time is one of the greatest achievable effects in beatless music. Recently, a gradual rise in the popularity of ambient has seen albums like The Hers’ Tough Cunt and Nate Schieble’s Fairfax create expansive aural architecture for listeners to wander round in without the tick-tock of percussion.

But hidden beyond – and often within – ambient’s balmy textures lies an even more timeless timbre that has lingered in music for centuries: the persistent hum of drone.

Watch this sickly clip from Twin Peaks: the Return, scored by Dean Hurley.