In June 2014, the militant extremist organization the Islamic State of Iraq and Syria (ISIS) invaded Iraq from the Syrian border, initiating a three-year conflict alongside a global campaign to defeat it. Based on its extremist interpretation of Islam, the militant group's presence was marked by the implementation of extreme violence, ethno-religious cleansing, and sexual slavery that created an atmosphere of dread and terror across the country. ISIS propagated and put into action its rigid ideology, including the strict control over women’s corporeal presence and the erasure of music. While military propaganda music in the Arab world typically features slow tempos, deep masculine timbres, and large vocal ensembles, in this paper, I will draw attention to the creative and unprecedented characteristics of anti-ISIS propaganda music, including its dance-inducing rhythms, vivid acoustic design, and representation of female body and voice. Building on my ethnography of civilians about their wartime experience of this music, I will then address how the aforementioned musical characteristics acted as a direct counter to ISIS terror. Focusing on the meaning created by these aesthetic elements for civilians, I will demonstrate how these propaganda music tracks encapsulate the idea of the nation’s immortality and endurance, what I call “musical lastingness”. Finally, in tandem with the recent scholarship on the terror-responsive effects of music (Crandy 2017; Young 2019; Thomson 2023), I will situate the idea of musical lastingness within Terror Management Theory (Greenberg et al. 1986) to expand on the understanding of musicking as an existential practice.