Supernatural Encounters of the Strange Kind
When you think of music for a horror movie, you probably think of a haunting organ or shrill strings. Yet, with the popularization of the theremin in the ’50s, horror can now take a more electronic direction. Where would Argento be without Goblin’s Moog, Stranger Things without the Kyle Dixon and Michael Stein’ synths, or John Carpenter without, well, John Carpenter?
This Halloween, we pay homage to ambient soundscapes and spooky beats in . . . Supernatural Encounters of the Strange Kind!
Taste Our Pleasures
“Nordcore – Hölle,” by Nordcore G.M.B.H.
“Phantasm Theme (Nightcrawler Remix),” by Nightcrawler Music
“Satan,” by Raydar
“Shoom,” by TRST
“I Know I’m Human,” by Beckett
“Obituary,” by Carpenter Brut
“Run Motherfucker,” by Kyle McKinnon, Jasper Justice Lee and Mads Heldtberg
“Chopping Mall Main Title,” by Chuck Cirino
“Now I’m Feeling Zombified,” by Alien Sex Fiend
“Walk The Night,” by Skatt Brothers
“Thriller,” by Michael Jackson
“The Hellhound Heart,” by Coil
I Can See Inside You
“Stranger Things (Extended),” by Kyle Dixon & Michael Stein
“Halloween Theme Rework,” by Perturbator
“Somebody’s Watching Me,” by Rockwell
“Night (Zola Jesus and Dean Hurley Remix),” by John Carpenter
“Exorcism,” by Daniel Deluxe
“L’alba Dei Morti Viventi,” by Roger Rotor
“Headache City,” by ROB
“In the House – In a Heartbeat,” by John Murphy
“Killer,” by Alice Cooper
“The Devil’s Cul-de-sac (Main Theme),” by Kylmyys
Eater of Worlds
“Killer Klowns,” by The Dickies
“Tattooed Vampire,” by Blue Oyster Cult
“White Faces,” by Roky Erickson
“People Are Strange,” by Echo and the Bunnymen
“Big Black Witchcraft Rock,” by The Cramps
“Shadow Crypt,” by Demented Are Go
“Drakula (Hey Man!),” by Richard Swiftt
“Vampira,” by Commander Cody
“Science Fiction Double Feature,” by Misfits
“Halloween III,” by Voices of Doom
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“Shoom,” by TR/ST
I always make it my beeswax to listen to any Halloween-themed playlist I encounter during the month of October, which is how I discovered this grubby little gem from TR/ST. Robert Alfons sings like a sexy demon with marbles in his mouth and the music is the kind of gothy synth symphony that makes me cue up “Bela Lugosi’s Dead” out of pathological habit when the weather turns crisp.
What the hell is he saying? I don’t know and neither do you. I can’t discern anything by listening, and looking up the lyrics leads to absolute nada, due to the fact that whoever populates most lyrics sites is at least partially deaf. Look up the lyrics to this song and tell me any of it makes sense, I dare you. Like most nightmares, the man talking says some things that are recognizable as being “English,” but make no sort of sense in context.
Sara Clemens
“Run Motherfucker,” by Kyle McKinnon, Jasper Justice Lee and Mads Heldtberg
You’re Next is my favorite John Carpenter movie that isn’t a John Carpenter movie, but what had me fall in love with it is the soundtrack. It’s a fresh take on the synth horror soundtrack that could go over almost any Carpenter classic. Except The Fog, don’t touch The Fog.
What’s wonderful about “Run Motherfucker” is it has these powerful layers and repetitions. That original, uncomfortable, synth drone never leaves. Instead it lays the foundation for everything that follows. Its the kind of song that allows you to discover new facets on every listen. Its the song that plays when you realize you’re alone in the woods at night. It’s the song that plays when you realize that you’ve split off from the group and your flashlight dies. It’s the song that plays when your fight or flight response kicks in and the only thing your body wants to do is, well, run motherfucker.
David Shimomura
“Walk the Night,” by Skatt Brothers
It’s a fine song to walk the night to.
Livingroom Jonhson
“Stranger Things (Extended),” by Kyle Dixon & Michael Stein
In case you missed it, Netflix gifted us the nostalgia-packed Sci-Fi/Horror series, Stranger Things earlier this year. Along with it, our ears had the pleasure of Kyle Dixon’s amazing score and title track. Throwback through and through, the John Carpenter-inspired electronic score stalks, jumps and blips along with the show’s beats and compliments the incredible story. This will be thumping as part of my Halloween soundtrack for my unsuspecting trick-or-treaters this month and I hope it becomes part of yours. String up those Christmas lights and get ready to R-U-N.
Erik Weinbrecht
“Halloween Theme Rework,” by Perturbator
Perturbator crashed onto the music scene by way of Hotline Miami a few years ago and is continuously pushing the bounds of his synthesized sound. I grabbed this gem off the internet last year and couldn’t wait to add it to this years mix. It is not just another cover of John Carpenter’s famous theme but a combination of songs from the Halloween soundtrack. It’s like he’s building the movie within his song as he moves from the main theme to the Shape’s theme and back again. Perfect for the night he came home.
Ken Lucas
“Night (Zola Jesus and Dean Hurley remix),” by John Carpenter
If you look at a list of my 100 favorite movies of all time you’ll notice that much of John Carpenter’s filmography is on there. Whether it’s ghosts, serial killers, killer cars, mystical demons, aliens, Elvis or gangs, it’s hard to argue that the man doesn’t have a vision. One of the key components of John Carpenter’s creative stamp are his scores, often composed entirely by him. Recently he’s taken time off from directing and has focused more on music making. With the current landscape of electronic music embracing the analog sounds he composed decades ago, it seems now is as good a time as any to get a music career up and running.
On this track, a remix of the instrumental track “Night” off his Lost Themes album, singer Zola Jesus (Nika Danilova) and collaborator Dean Hurley craft the ominous synth lines into a sinister pop song.
Mike Edwards
“Shadow Crypt,” by Demented Are Go
I love the punk rock, but punk songs rarely have the room for atmosphere that a good spooky needs. Even when they embrace horror, punk is defined by aggression, which is traditionally the role of the monster, and being the monster is rarely scary. Its empowering, really.
This paradox is what makes genuinely spooky punk songs so rare and priceless. To their ranks (only two leap to mind – “Bloodfeast,” by the Misfits and “Blackmagic,” by T.S.O.L.), I’d like to add the mournful, jittery cemetery stroll of “Shadow Crypt.” Ambiance to spare. I mean, is that a mandolin?
Stu Horvath
