11 Non-Halloween Songs That are Scary as Hell
Edvard Munch would totally dig these songs.
Edvard Munch, via Wikimedia Commons
It's that time of the year — people start digging out spooky tunes to complete Halloween party playlists or just because they're in the spirit to rock out to music that exemplifies the holiday's scary vibes. In general, most popular Halloween tunes really aren't all that terrifying — think usual suspects like "Monster Mash" — fun, yes, but probably not going to keep you up at night. We put together a list of 11 songs that weren't written for the holiday but are truly haunting in their own unique ways.
Fantomas, "Rosemary's Baby"
Mike Patton sprinkles his inner freak on all that he touches, and this track is certainly no exception. This cover of the theme song from Roman Polanski's 1970's film, Rosemary's Baby, is made extra unnerving by Patton intermittently singing "la la la" in a child's voice atop the
The Damned, "These Hands"
Everyone knows clowns are hella creepy. Their pasty, painted-up faces hide all kinds of mystery and you just know they're plotting sinister shenanigans as they lumber past you in their giant, floppy shoes. The Damned knew that, too. Singer Dave Vanian's voice takes you on a trip through the funhouse, a twisted carousel ride with its periodic dips into the low range and the nightmare-inspiring maniacal clown laugh.
Dock Boggs, "Pretty Polly"
As far as talking about what might cause chills, I could stop after "Appalachian folk singer," right? Ol' Dock Boggs tore up the 1920s with his stellar banjo playing. His old-timey bluesy, folksy voice was complete with an inherent sense of darkness. In this
Ween, "You Fucked Up"
There's nothing subtle happening here, which makes it the perfect song when you just want to drive it home to someone just how precisely pissed off you are. The music is noisy and mad and the vocals lay it all out, telling you without question that you really made a fucking mess. Ween proves that you only need one minute and 37 seconds to let someone know that they should probably
Porter Wagoner, "The Rubber Room"
Country music on acid, right here. Beneath Porter's signature pompadour and elaborate, bejeweled suits were some deep thoughts about the insane asylum: The man in the room right next to mine screams a woman's name/ hits the wall in vain /he's in the rubber room. Complete with trippy guitar effects to emphasize the losing of one's mind.
The Toadies, "Possum Kingdom"
This alt-rock anthem is a growly outline for a moonlit walk gone bad. This creeper is trying to create his own dead angel to hang around with, promising his prospective date that if she takes a stroll with him he will preserve her beauty "with dark hair and soft skin...forever." Yeah, we bet that's not all he's gonna do.
Tiny Tim, "People Are Strange"
Well, this isn't Jim Morrison's
Nick Cave and the Bad Seeds, "Stagger Lee"
Mr. Cave is the reigning prince of darkness. His lyrical storytelling makes any topic sound intriguing and intoxicating, especially those of the taboo persuasion, it's just what he does. This one's based on an early 1900's murder ballad about an unfortunate situation between the song's namesake and another man in a saloon. The piercing violins and female screams that play as the tale is told are as equally jarring as Cave's tale and the way he tells it.
Snakefinger - "
Scottish folklore says there was a guy named Alexander "
Butthole Surfers, "22 Going on 23"
A woman calls into a radio show to talk about how a violent sexual assault has left her with anxiety. The song is relentless, as sludge-y sounds are topped with vocal
Billie Holiday, "Strange Fruit"
There's nothing more haunting and terrifying than the human condition. If this song doesn't chill you to your very core, you quite possibly be one soulless motherfucker. The song was written in the 1930's by a man named Abel Meeropol who was rightfully disturbed by racism; the song a direct result of him seeing a photograph of a lynched man. There's no one more perfect than Ms. Holiday to deliver this message. Her voice is a beautiful, magic whip that slays the listener, magnifying when it descends into appropriate anger.
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