"We as people are drawn to the things that scare us. I think that being scared from a distance, not for real, but from a roller coaster ride, a book, or film, but knowing your really safe hiding under the blankets -- like when you are a little kid -- we want that feeling. We want that feeling of knowing mommy or daddy or that special blanket protects us. And the only way to get that feeling is by being scared. You don't get that exhilaration, that adrenaline rush or ultimate feeling of security unless you get a good scare."
Calling his band Van Helsing's Curse after the fictional vampire hunter Abraham Van Helsing, Snider forged the 2003 album over several years, narrating his original story of a cursed child, the only survivor of a town murdered by an unseen entity. The youth decides to seek revenge and becomes a demon slayer.
Musically, blistering heavy metal riffs and power chords mix with pieces of classical music, horror movie themes, an orchestral choir and what Snider calls "other creepy works," like Chopin's "Funeral March." The spine tingling intro to Mike Oldfield's "Tubular Bells (from The Exorcist) kicks off the album, picking up giant guitar riffs like deadly spiders before adding a haunting choir and Grieg's "In The Hall Of The Mountain King." There is also Jerry Goldsmith's "Ave Satani" (from The Omen films), Stravinsky's "Firebird Suite," Holst's "Mars, The Bringer Of War" and Black Sabbath's classic "Black Sabbath," among other pieces, sprinkled about that give the album a true soundtrack quality.
"I wanted to have a story on the record and then do the music to represent the story," he explains. "The idea was to find classical themes that had built-in creep factors or were just sort of haunting. I mean, we use "Moonlight Sonata" in there and that's not exactly a scary piece by any means. But in the context of the way we arranged it, it became a haunting melody."