Oct. 24, 2007
Most Halloween enthusiasts spend the month (or more) planning their costumes for the big day, but audiophiles know that when it comes to getting into the spirit of the season, atmosphere is the name of the game. There's only one problem -- it seems that every October, the same tired songs get trotted out by radio DJs and slapped on compilation CDs. With all due respect to the late Bobby "Boris" Pickett, Monster Mash does tend to lose its luster after a while.
So, what is a Halloween ghost -- er, host with the most -- supposed to play to set the mood? Fear not: All Music Guide has your back with this, your guide to the Ultimate Halloween Mixtape. This is just part one, so be sure to check back for more songs that are silly, scary, or even a little of both. Got a suggestion of your own? Leave us a comment below.
Pulp, "The Fear". From the first ominous, distorted notes that pour forth in the introduction to the increasingly menacing electronic pulses that bring it to a close, this ode to trouble in moneyed paradise proves that sometimes the Fear is inescapable -- because it's life itself.
Metallica, "Of Wolf and Man". Unlike a more well-known werewolf song that sees plenty of airplay this time of year, this metal ode to shape-shifters is a reminder of what the beasts are supposed to be: fearless, unstoppable, and terrifying.
Pink Floyd, "The Trial". On an album known for its eerie themes and bleak outlook, what makes this song a creepy standout isn't just the distorted, strangled voices of its characters or Michael Kamen's theatrical orchestral score. No, what makes this song truly scary is the fact that this trial all takes place in the head of Pink, the album's disturbed protagonist.
My Chemical Romance, "Early Sunsets Over Monroeville". Long before the dramatic bombast of The Black Parade, Gerard Way was already weaving tales of woe with a twist. What starts out as an ode to teenage love in suburbia morphs into a horror story capped by an impossible choice.
Echo & the Bunnymen, "People Are Strange". Even discounting the fact that this song originally appeared in the end credits for the '80s teen horror classic The Lost Boys, this cover of a Doors classic gives the song an ethereal, unworldly sound that is haunting long after it's over.
Voltaire, "The Vampire Club". For those who favor camp over capes when it comes to vampires, this rollicking little ditty tells the tale of the fights, sights, and sounds that take place in a pretender's paradise one dark night.
Hughes Hall, "Sleep Now". A roaring boom of thunder opens this atmospheric tune, and the tension builds from there. This short piece from the Dark City soundtrack is the audio equivalent of being hunted by monsters -- and the track's repeated voice-over of "Sleep... sleep... now" makes it all the more disturbing.
Love & Rockets, "Haunted When the Minutes Drag". While ostensibly about love lost to a romantic split, the tense vocal delivery, suffocating music and overall anguish could indicate a different meaning entirely. Perhaps this haunting has less to do with memories and more to do with a restless and pervasive spirit.
Bjork, "Army of Me". A slow but steady gait. A nearly emotionless voice. The constant threat of being overwhelmed. It sounds like the makings of a zombie apocalypse or evil machines flick, but it's also a way of describing this menacing track.
Nine Inch Nails, "Terrible Lie". Against a disjointed musical backdrop, Trent Reznor delivers a fierce, furious, and deliciously frightening monologue about a love/hate relationship. It's the sort of tale that Hollywood loves to turn into a cheap stalker thriller, but there's no need to add visuals to a song that's this ominous.
So, what is a Halloween ghost -- er, host with the most -- supposed to play to set the mood? Fear not: All Music Guide has your back with this, your guide to the Ultimate Halloween Mixtape. This is just part one, so be sure to check back for more songs that are silly, scary, or even a little of both. Got a suggestion of your own? Leave us a comment below.
Pulp, "The Fear". From the first ominous, distorted notes that pour forth in the introduction to the increasingly menacing electronic pulses that bring it to a close, this ode to trouble in moneyed paradise proves that sometimes the Fear is inescapable -- because it's life itself.
Metallica, "Of Wolf and Man". Unlike a more well-known werewolf song that sees plenty of airplay this time of year, this metal ode to shape-shifters is a reminder of what the beasts are supposed to be: fearless, unstoppable, and terrifying.
Pink Floyd, "The Trial". On an album known for its eerie themes and bleak outlook, what makes this song a creepy standout isn't just the distorted, strangled voices of its characters or Michael Kamen's theatrical orchestral score. No, what makes this song truly scary is the fact that this trial all takes place in the head of Pink, the album's disturbed protagonist.
My Chemical Romance, "Early Sunsets Over Monroeville". Long before the dramatic bombast of The Black Parade, Gerard Way was already weaving tales of woe with a twist. What starts out as an ode to teenage love in suburbia morphs into a horror story capped by an impossible choice.
Echo & the Bunnymen, "People Are Strange". Even discounting the fact that this song originally appeared in the end credits for the '80s teen horror classic The Lost Boys, this cover of a Doors classic gives the song an ethereal, unworldly sound that is haunting long after it's over.
Voltaire, "The Vampire Club". For those who favor camp over capes when it comes to vampires, this rollicking little ditty tells the tale of the fights, sights, and sounds that take place in a pretender's paradise one dark night.
Hughes Hall, "Sleep Now". A roaring boom of thunder opens this atmospheric tune, and the tension builds from there. This short piece from the Dark City soundtrack is the audio equivalent of being hunted by monsters -- and the track's repeated voice-over of "Sleep... sleep... now" makes it all the more disturbing.
Love & Rockets, "Haunted When the Minutes Drag". While ostensibly about love lost to a romantic split, the tense vocal delivery, suffocating music and overall anguish could indicate a different meaning entirely. Perhaps this haunting has less to do with memories and more to do with a restless and pervasive spirit.
Bjork, "Army of Me". A slow but steady gait. A nearly emotionless voice. The constant threat of being overwhelmed. It sounds like the makings of a zombie apocalypse or evil machines flick, but it's also a way of describing this menacing track.
Nine Inch Nails, "Terrible Lie". Against a disjointed musical backdrop, Trent Reznor delivers a fierce, furious, and deliciously frightening monologue about a love/hate relationship. It's the sort of tale that Hollywood loves to turn into a cheap stalker thriller, but there's no need to add visuals to a song that's this ominous.