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See also the tool's wiki page and the index of WikiProjects. From Wikipedia, the free encyclopedia. It even makes the sound of an accordion seem unnerving. The worst? That muttering Hector Berlioz : Certain parts of Symphonie fantastiqueparticularly the last two movements. Especially if you know what they're about. The "Dies Irae," a part of the Requiem mass taken from a 13th-century hymn.
It describes the Last Judgment. Berlioz did manage to change the way the tune was used, however, when he quoted it in his aforementioned symphony, and it's been parodied ever since as in the Saint-Saens piece described above. Creepiness incarnate at the beginning Which, coincidentally, is what the last movement is supposed to be about. John Cage : ''In the Name of the Holocaust'' manages to be more terrifying than most Nightmare Fuel by prepared piano alone.
No lyrics, no ominous bells. Imaginary Landscape No. If anything, the video accompaniment here makes it even worse. George Crumb: "Black Angels". It will make you feel like insects are crawling up your skin.
Paul Dukas: " The Sorcerer's Apprentice " also has a very eerie atmosphere. Thanks to Disney's "Fantasia" the music actually became more unnerving. Bernard Herrmann 's score to the Hitchcock film Psycho would have been scary enough even without the imagery of the film. Mediaeval Baebes: "How Death Comes.
Goes from scary whispering to shockingly loud. Most of Olivier Messiaen 's piano suite Vingt regards. Some examples. Modest Mussorgsky : " Night on Bald Mountain " really sounds as if all demons from Hell are brought together. If you hear the scary music that Mussorgsky wrote for these passages you're actually glad that the original paintings that inspired him are lost. Ten minutes of the scariest music ever. The Dream of Jacob. In one of the bonus features for Inland EmpireLynch said one reason his wife divorced him may have been that he kept playing it on the stereo really loud.
Utrenjawhich seems to exist solely to make people scream. The chanting from the chorus is unnerving, and the rhythmic knocking sound sounds like a pair of skulls being smashed together. And then come the ear-splitting clanging and sirens. Most of his symphonic pieces; there's a reason that several of them were used as the soundtrack to The Shining. Let's not even think about what it says about Adrian Veidt that he apparently listens to them for fun. Here are a couple of links.
Sergei Prokofiev "Montagues and Capulets". Its intro is frightening enough, then atit goes into overdrive. Peter and the Wolf. The music accompanying the cat trying to catch the little bird has a literal Jump Scare moment when the cat misses him. The threatening horns when the wolf leaves the forest. The music when the cat notices the wolf and quickly climbs the tree. Scary enough, but then the wolf chases the duck and devours the poor creature, all accompanied by nervous music that makes little children's imagination go berserk.
The spooky flute representing the bird and the equally haunting bassoon representing the granddad slowly walking towards Peter. Maurice Ravel 's La valse lends itself to this trope with its disjointed melodies, jarring dissonances, and wild swings in mood and tempo.
It moves deeper into nightmare territory as it progresses, culminating in a violent climax that suggests a demonic orgy gone horribly out of control. Gioachino Rossini has the second part of the William Tell Overture, appropriately labelled the "Storm" segment. The familiar portion with the full orchestra is probably the scariest of all.
Saint-Saens' "Danse Macabre" isn't exactly balmy, particularly the opening. You are forgiven in advance for jumping out of your seat 19 seconds in. Arnold Schoenberg: "Pierrot Lunaire". There had been lots of scary music made before Schoenberg, but he was the first person to make music creepy.
In fact, he's been so imitated by modern composers including on numerous horror film scores that it can sound a bit Dated. It's even worse after you watch the torture scene it's played during. The son refuses and begs his father to save him. The song got its nickname thanks to urban legends which are now thought to have been spawned by Holiday's record label, as the original Hungarian version was said to have inspired the suicides of anyone who heard it, and indeed Seress took his own life in However, Holiday's version added a third verse which modulates to a major feel and suggests that the previous verses were merely a fleeting dream.
Still, the final lines - "Darling, I hope that my dream never Album) you My heart is telling you how much I wanted you" - leave many disturbingly unanswered questions. Dmitri Shostakovich : "String Quartet, No. For real nightmare trips, plays his last two string quartets - especially No. Symphony No. But it kicks into full Nightmare gear in the second half, starting with the agitated strings and percussion.
That builds up until it gives way to a relentless percussion cadence, which in turns alternates with violent outbursts from the rest of the orchestra. The music gives the impression of an unfeeling, unstoppable juggernaut destroying everything in its path.
Back in audiences weren't used to such threatening sounding introduction to a ballet. Of course, "The Rite Of Spring" has no happy subject to begin with: a ritual sacrifice of a young virgin in prehistoric Russia! The entire piece sounds brutal, primitive, loud and has a scary feeling to it. Especially first time listeners will almost certainly be unnerved. No wonder that a riot broke loose during its premiere in ! The second act "Introduction" and "Mysterious Circles Of The Young Girls" sounds even more threatening, because it remains so hauntingly calm and quiet for quite some minutes.
After the earth shattering noise of the first act this comes across as being silence before the storm. You Album) that's a nightmare? You can hardly stay calm during the final movement, La danse sacralewhether it's accompanied by the composer, an actual ballet performanceor any kind of musical score.
And if that wasn't disturbing enough, check out Pina Bausch's choreography. Very unnerving. YMMV on that, as it was meant to sound delicately sweet and heavenly, but it does so in a peculiarly Russian way. There is a version on glass harmonica Tchaikovsky's original choice that might be even more unnerving. So hauntingly creepy that Walt Disney used it for his movie Sleeping Beauty in the scene where Princess Aurora is hypnotized by the Witch to go and prick her finger on the spinning Album).
Scott Walker : Many of his later releases, with the most horrific being 's The Driftwhich is less about music than it is the aural equivalent of a train ride through Hell. A lot of Alexander Scriabin's late pieces are mysterious and spooky, but his Sixth and Ninth Piano Sonatas jump into creepy territory. The composer reportedly refused to play the sixth in public, fearing its darkness.
However, Berg's music was always highly emotionally charged, and the result of that combined with nightmarishness truly comes forth in his Three Orchestral Pieces. The last movement especially is terrifying in its madness. Based off of a quote from Psalm of The Biblethis piece is haunting and unsettling, from the chimes to the low pianos to the loud trumpets and drumbeats that sound exactly a tempest of God's fury and the Israelites' tortured weeping.
The vast majority of Steve Reich's music is Sweet Dreams Fuelbut there are a few notable exceptions. The work is split into three movements, with the first, titled "Before the War", being a light, upbeat nostalgic piece featuring Reich's governess and a former porter reminiscing about the trains, featuring an American steam whistle that is very deliberately pitched to sound bright and happy.
The next, titled "During the War", is a darker, more stark piece about the suffering of Jewish people in Europe under the Nazis. The second movement uses the sound of European steam whistles, which double as air-raid sirens, and they sound absolutely terrifying. The third, "After the War" is a somber reflection on Reich's own nostalgia and on the people who fled Europe during and after the war, riding the same trains Reich rode.
The piece utilises snippets of interviews Reich conducted to develop melodies, which are played in time with the music. This makes the music both an ear worm and places it in the Uncanny Valleygiving it a very eerie feeling. Lemon Demon : " Elsewhere. They conjure images of evil clowns. Is it any wonder that the same artist composed a track called "Nightmare Fuel"?
Once you're done with that, find the Lemon Demon song "Sick Puppy," which is in the same vein but not quite as shiver-inducing. It's the old dope peddler. The Serial Escalation of "Who's Next? It's all well and good, a little creepy, until you get to the end and realize that three teenage boys while admittedly horrible dudes, but still If you listen to it on a good system, you'll notice that there are bass notes that are more felt than heard.
Now try this home alone in a rural location with a storm approaching. It details a conversation between a rural serial killer and his mother, in which he confesses his crimes. One memorable line runs. Bad enough, but the final line is the kicker in which it is revealed that he has already killed his mother and has been talking Album) her corpse. Hank Williams III: A rare example in country music: the double album Straight To Hellcontaining a minute long end track that consists of a hellish pastiche of distorted sounds, ranging from pitch-shifted country songs to field recordings.
Interspersed throughout, however, are some rather nice if a bit "off" songs that detracts from the "WTF factor". Those Poor Bastards: They perform pitch-black horror-themed country with the fervor of fundamentalist backwoods preachers. And their cover of Johnny Cash's "Walk the Line" is a terrifying ode to stalkerism.
Hank Snow's obscure song "The Name of the Game Was Love" probably wasn't intended to be thisbut reading between the lyrics reveals far more sinister connotations. In theory, the song is a happy, nostalgic reminiscence of all the girls the narrator has been romantically involved with in his life, with an absolute earworm Blood Bath - Alien Vampires - Fuck Off And Die (CD a tune and the first verse even sounding similar to the children's nursery rhyme "Five Little Speckled Frogs".
Except that list of girls is insanely long, which makes it extremely likely that the narrator is a Casanova who goes out of his way to win the hearts of as many girls as he possibly can before abandoning them and moving on. While the song goes out with the narrator saying he loves them all, it's difficult not to question his sincerity. This goes a step further in the extended cut, culminating in Careful with That Axe.
Weird lyrics, and then this robotic voice talking about the noise, and this dissonance, and this constant beat It's beautiful, though.
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