Yesterday I was playing through the songs for this recital thing coming up, and - voila! - I think I've stumbled onto the BLACK HOLE of open fourths and fifths and minor second dissonances and suspensions and whatever else you care to throw into the soup of "today's" music.
It's certainly not the first appearance of the phenomenon, but I believe the BLACK HOLE of Dear Evan Hansen sucked all of that energy in from past, presence and future, and there's a dense concentration of it right there that you wouldn't believe.