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Successful drone music is actually not about stasis itself. When it works it’s because it allows a shift to occur in the listener, wherein the subject of the music becomes your own phenomenological experience. Good drone work is about the way you perceive it: how your focus shifts when a layer you didn’t even notice before suddenly leaps to the forefront in a way that makes you question whether it happened in the mix or in your own mind, the way a mass of static sine waves will cancel each other out depending on how your ears are aligned to the speakers, how what would be an insignificant change in traditional music becomes completely seismic in a context of limited means.