Tate> Apologies for the lack of page number. I'm not sure the context adds much anyhow, although I do find that section to be very useful.
Nomadologist> Woaw, it's dangerous using words like essence isn't it?
To clarify, the previous discussion seems to imply that Derrida's hauntology cannot meaningfuly be applied to a specific category of pop music. A Heideggarian ontology seems to ensure as much, as you indicate. (Your knowledge here trumps mine, but this is what I gather from the discussion so far). But undoubtedly there is something going on with Ghost Box, Burial, etc. which has been labelled hauntology. Shunted into Badiou's ontology, these problems disappear, and a more specific hauntological music (or indeed, any art) seems to gain some clarity.
That dangerous essence, is that which is drawn from the void, emergent from some evental site. E.g. Post-punk's evental site being various barriers between punk, disco, dub, etc.. Such barriers no longer exist (or do they?), so perhaps today's evental site lies in something to do with dyschronia, with a reterritorialization of the past, enacted through mourning, being the Event. This for me, is where a hauntological pop music becomes coherent.
The quote below indicates my fears about what hauntology might become - obscurantist - which would be a terrible outcome.