The present essay is a critical evaluation of underground musical communities, analyzed under the lens of Hartmut Rosa's social
theory. The aim is to ponder the analytical and normative performance of some concepts, such as social acceleration or dynamic stabilization, in order to explain observable realities in the musical sphere, particularly the role played by musical communities as homologous formations to pre-modern religious communities in their capacity to elicit resonant relations between subject and world. Finally, the fundamental character of drugs in the conformation of the communities studied is discussed.
