That’s right, folks, the most disturbing Halloween EVER! From now until Halloween, the Popdose staff are going to be thumbing through their record collections in search of the music that gives them the worst case of the heebie-jeebies. In the second installment, Dave Steed gives us six songs that continue to wig him out. —Anthony Hansen
Since we have some of the best writers on the planet here at Popdose, they of course are probably going to think outside of the box to come up with various ways to define the most disturbing, twisted, evil, or creepy music they’ve heard. On the other hand, I just cut a hole in that box, and I’m begging you to look inside.
I listen to lots and lots of metal. So when you start throwing out words like “evil” and “twisted,” it’s not hard to find that in my collection. I thought of going the evil route, but that seemed a little easy; I could give you any Deicide song and post a picture of singer Glen Benton with the inverted cross burnt into his head and just stop right there. Or I could’ve gone the twisted route by posting a Cannibal Corpse greatest-hits set and been done with it. Or I could’ve gone outside the box and posted tracks by BrokeNCYDE, who are scary because it disturbs me to think that four people have that little talent.
I’ve often mentioned to others how “creepy” a certain song is, so this seemed like the best path for me to choose. Below you have the soundtrack to your Halloween, because it’s time the adults have some fun as well. Do you live in a neighborhood where kids come to your door all night long looking for candy? Tired of it? Download these six tracks and play them on a loop out your front window, and next year the kids won’t be getting anywhere near your Smarties. But beware — they might just piss themselves when they hear what’s coming out of your little shop of horrors, so this year, instead of Tootsie Rolls, it might be best to hand out diapers. Just warning you.
And now, six of the creepiest songs ever written …
Many artists put on emotional masks, and there are a multiplicity of reasons they do so. Some simply wish to distance the “real them” from the audience, in order to allow some semblance of their “true” nature to remain private. Others enjoy putting on an act, and feel that the creation of multiple personalities, fully controlled by them, is either an extension of their work, or perhaps just a way to mess with other people, or “give them what they want.” Others don’t start out with masks but grow to wear them, as the boundaries between what is internal and external blur, finally leaving an individual whose psyche is little different from what the gossip columnist or their own press agent claims them to be.