In an unexpected way, the start of the COVID-19 pandemic in March 2020 turned us into witnesses of the new. The lockdown was a disruption, demanding experimentation, so that many were gripped by the expectation that the crisis would also give rise to something new in music. Reports and commentaries described and invoked this as creativity. But what kind of creativity were we talking about? This article attempts to define the “creativity” of dystopian reality more precisely and combines this with exemplary approaches to soundscapes in literary dystopias: The Plague by Camus, 1984 by Orwell, Fahrenheit 451 by Brabury. Camus demonstrates the breakdown of vox humana on stage, Orwell describes the power of the non-human voice of the bird, whose song points to utopia. In Fahrenheit 451, the moment of hope for the future is also linked to nature, but not to animal-voice; instead, it arises from silence. Like the shattered self-evident truths in the Anthropocene, these examples treat the relationship between vox humana and animal-voice.