The paper focuses on specific issues that arise from the use of a soundscape of a terrorist attack in music composition and its performative, social and ethical implications. It examines ways of transforming a disastrous event into an artistic statement which will be communicated in the listening context of a concert space. Among these issues are: how such unfortunate and devastating events can gestate powerful expressions of sonic art? Moreover, in which ways the electroacoustic medium can communicate a catastrophic event with impact on the social psyche - such as the defacement and destruction of sites and human lives - in a meaningful and intelligible way? Do sounds exist independently of any connotations we attach to them? Shall the soundscape of a terrorist attack, as the one in Brussels, be disconnected from the terrorist act and its memory? Which ethical considerations shall guide these decisions? A case study is provided through a short analysis of a piece - entitled “Winter Landscape 1: Brussels” - that uses soundscapes of a terrorist attack in Brussels.