Understanding the rock culture, rock poetry in particular, is possible through mastering the category of absurdity, which is widely represented in rock and the nature of which includes, firstly, eclectic synthesis, paradoxically combined with destruction and deconstruction, and secondly, actualization of various forms of return (to oneself, to the origins, to the truth) through attention to the archaic and archetypical, and often chthonic subjects and images, as well as through various lexical experiments. The constant tendency of rock poets to erase clear boundaries between independent types of being and creation entails the creation of corresponding poems that express absurd types and absurd configurations of artistic reality. D. Ozersky's poetry, in turn, is characterized by the fluctuation of boundaries between music and text, intuitively comprehended and discursively designed, continuous and discrete, logically ordered and spontaneously conscious. The article analyzes the verbal component of the rock cycle «There will be no winter» (2000) in terms of specific linguistic features and semantic content, considered in combination with metatextual elements such as interviews, documentary and video materials. The analyzed texts reveal an explication of several forms or methods of artistic embodiment of the metaphysical aspiration for ontological integrity. The most prominent of which are the aspects of the so-called "language speaks" phenomenon (M. Heidegger), when the meaning is generated by the combination of "acoustic image" and concept, and this meaning tends to some eternal, inexpressible bases. The article also describes the aesthetic consequences of the use of "excarnation" methods of words in the texts of D. Ozersky.
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