Groovy Ghosts

I can't tell if I want Halloween to happen already, or never arrive.

The build up to the holiday of the dead is just as awesome as the day itself, in my opinion. In fact, the day itself could even be a let down, the way I build it up. I love it, if you weren't able to tell by the whole Spooky Month thing. As the day gets closer and closer, my better half likes to indulge my juvenile obsession. This involves both a plethora of candy and the annual observance of fittingly themed cartoons. It used to only be Treehouse of Horror episodes, but as the years have gone by I've started to sneak in the occasional South Park episode into the mix. While the Colorado kids might not have as many Halloween themed episodes in their canon, there are a few make their own indelible mark on my pop-cultural lexicon. One of my favorite is the season three outing, 'Korn's Groovy Pirate Ghost Mystery'. 

South Park is all too often dismissed as nothing more than vulgarity and offensive crassness wrapped up in an elementary school setting. This dismissal couldn't be farther off base - it is, in fact, a thought-provoking and nuanced show with a wicked sense of humor that pulls no punches. The term South Park Republican? This is where it comes from. They've done multi-episode arcs that are scathing examinations not only of other shows but their own standing in relation to their TV peers. They've pushed political buttons with the best of them. They've broken all kinds of censorship taboos. They've also done a phenomenal job with this Halloween parody of my childhood favorite, Scooby Doo. So I'm asking you to look past any prejudices you might have (wrong that they are) and check out this episode that's over 10 years old.  When you get down to the core of this episode, it's really just a solid, somewhat unremarkable example of South Park in its nascent prime. There's no long-standing political message to make it a human, relate-able tale. There's no hallmark celebrity-bashing or scathing pop-culture take-downs. All it is, really, is a firmly tongue-in-cheek take on the old Scooby Doo, mystery solving, Halloween story. 

There is so much about this episode that could be labeled as arbitrarily silly and nonsensical. There's no heavy drama or high stakes. I think this light and indulgent episode is enjoyable for just those reasons - no big message, just a goofy Halloween-centered story. Fifth graders are tormenting Cartman, Kyle, Kenny and Stan on the approach of Halloween with tales of Pirate Ghosts. To get back at the fifth grade bullies, the boys dig up the corpse of Stan's grandmother to use as a scare-tactic. Korn, for arbitrary promotional reasons, are driving their Mystery Machine style van through town and crash when they see Pirate Ghosts. Everyone teams up to investigate these hauntings that are happening at the pier in South Park, where the local radio station is set to hold their big costume contest. That's all that happens - pretty light and fluffy compared to where the show is now. What ensues is both an awesome riff on Scooby Doo and a series of grotesque necrophilia jokes, naturally. 

So much of the insanity in this episode is hilariously unspoken. Pirate ghosts. Haunting a pier in South Park. In the middle of Colorado. Korn's unflappable optimism and cheery attitude in the face of their dreary and angst-ridden music. The four boys being so cavalier and unquestioning of their own grave-robbing. The inclusion of Niblett, the pitch-perfect parody of the 70s Hanna Barbera mascot/sidekick kid-friendly...thing...that accompanies the group. Kenny's amazing and over the top ED-209 costume. Wendy Testaberger winning the costume contest in the requisite Chewbacca costume.

When you get down to it, it's a stupid, silly story that has no real purpose, other than to entertain you for 20 minutes. Considering how life can be so overwhelming and demanding at times, sometimes I just want to relax and laugh at some inanity and enjoy the Halloween build-up. No disturbing visuals, no unnerving horrors. Just a simple, stupid cartoon to help me unwind. I can hardly wait for Halloween. Spooky Month isn't all depressing horror and disturbing content - just some of the time. 

Rankin File

Evening, all.


Yesterday's post was on a Halloween special that scarred me as a small child. I found, in talking to people last night, that I was not the only person who was severely traumatized by it. Today's piece, in the interest of Spooky Month and a week of TV specials, was something that had a similar effect, only this time I was way too old for the movie. For your entertainment, however, I'll tell the tale. 


I can swear that I was completely sober at the time. In fact, I'm pretty sure I was no more than 17 or 18 when this viewing experience occurred. Like many of my Warm Fuzzy Viewings, this was something I saw while hiding from the world in my parent's basement, in their house out in the woods. It was late at night, I think maybe a Sunday night. I was flipping through the channels in the days before DVRs and net-delivered content. This was also back at a time when AMC was more about old movies than the amazing shows they provide now. What they were showing late at night caught my eye and immediately gave me the willies. I had to watch, despite my discomfort. It was Mad Monster Party.

Mad Monster Party is one of the old Rankin/Bass animated pictures, in the vein of their famous Christmas specials and holiday features. All stop-motion little puppets, a sort of ancient precursor to the shenanigans of Robot Chicken. Done with these posed figures, they tell the story of Baron Von Frankenstein hosting a convention of the classic movie monsters at his castle. He makes an announcement of his retirement and plans for succession involving his nebbish nephew, which the monsters find unacceptable. Shenanigans ensue, to say the least. 

What I think threw me for a loop about Mad Monster Party was the uncanny aspect of the presentation when coupled with the ghoulish imagery. Obviously it was aimed at kids when it was produced and released, but seeing it late at night, not really knowing the nature of the beast, I was kind of transfixed. Something about how the characters moved in their lifeless yet animated manner creeped me out on a subconscious level. The dead eyes. The seemingly-kooky-and-fun-but-really-kind-of-creepy ambiance. Maybe it was just that I wasn't expecting it when I was flipping through the channels, waiting for South Park to come back from a commercial break. 

I say it was creepy, and it was. But Mad Monster Party still has a certain charm you should check out. It's on Netflix Instant, and trailers and clips are on YouTube. The retro kitsch is kind of awesome. I just get the willies from the stop motion. Keep reading Spooky Month for more TV themed stuff tomorrow!

Garfield & Ghouls

Spooky Month can never die!


We're switching gears again, kids. No more auditory evils, no more mixes for costume parties, no more ambient soundtracks. We're delving into Spooky TV shows and specials, the kind of stuff that either gets under your skin or celebrates my favorite of all holidays. Today, we're starting back at the beginning. Let's look at something from my childhood that scared the bejesus out of me - Garfield's Halloween Adventure.

I could see where this would be an innocuous thing. I could see how the execs and artistic talent behind this animated special from 1985 could make the assumption that everything presented here would be just fine and dandy for a children's Halloween special. That lazy, lasagna loving cat goes trick-or-treating with Odie and they have a bit of an adventure, a fright or two, throw in a couple musical numbers and a couple commercial breaks, you got yourself some advertising bucks. What ensued still gives me chills. I remember the white-knuckle terror of watching this as a small child, my brain melting at the twisted visuals that were stealthily presented in this cartoon.

 One in a series of holiday specials from Garfield, the 80s and childhood staple, this half-hour cartoon was charming and simple on the surface. Garfield experiences Halloween. Jon gets him to carve a pumpkin. Garfield and Odie look for costumes in the attic, then go trick-or-treating. They see a house in the distance, across a river. Taking a rowboat, they find it's an old house that is home to what is clearly a disturbed old man. He tells a tale of pirates who are due to return from the grave that night to reclaim buried treasure. He steals the pair's boat and the two animals hide in the cupboards from some amazingly terrifying ghosts. That is when my brain promptly melted and oozed out of my ears. 

Once I reached adolescence, I found reliving the childhood terrors a bit of a thrill. Surprisingly it still gives me the willies. I have to say, the style of animation and the manner in which it so innocuously creeps into what was expected to be a pleasant animated outing is effectively unnerving. I know I love the macabre and the surreal, but just Googling the images for today's post got my heart to race a bit. Some stereo effects kicked in at the wrong moment in my headphones and my pulse skipped a beat. How can this cartoon have had such an intense effect on me at such a young age? It must have been the shattered premise of peace and safety. I guess it was my first experience of the dangers that can come in seemingly innocent packages. 

Good gravy, just one post about Spooky TV and already I need a drink. Tell you what, I'll come up for more modern fare for tomorrow's post and you try exposing your kids to the unexpected terrors of Garfield's Halloween Adventure on Youtube. Scar them like I was, it'll put hair on their chest and a surprise in their diapers. Spooky Month never dies!

Larger Universe

C-C-C-C-C-c-c-c-combo breaker!

Spooky Month perseveres but the inherently musical aspect of the week falls, leaving in its wake a hybrid of the spooky and the auditory. Today, instead of emphatically suggesting a song or album for the month of October, I implore you to look at one of my all time favorite podcasts, Mysterious Universe.

I've been listening to MU since its inception, I think. To be fair, it was back in 2006 and I may have been in that hazy, post collegiate phase in which days string together in a seamless fashion while you look for a job to serve as a stop gap before a career takes shape. The internet and podcasting were ascendant, becoming a legitimate cultural presence. I was filling the time not searching job postings by cleaning my apartment and listening to podcasts, distracting myself with the weekly shows. I was enamored with Mysterious Universe, a podcast "bringing you news of the strange and paranormal" that touched on a childhood fascination of mine. I was, I am sheepish to admit, fascinated with anything and everything relating to UFOs, Bigfoot, Cryptozoology and my personal favorite - the Loch Ness monster. As I got older, I studied Philosophy in college, which I've found was basically these same niche subjects, only as they manifest in the mind. Same person, same weird interests, only now it was internalized through logic and self-examination instead of books about Roswell. I still adored a good conspiracy theory, only now more as an intellectual exercise than a serious debate.

I loved having the podcast on while I puttered. I started to accumulate back episodes and would listen to them on long drives to see my parents. At some point I interrupted my internet service and when I finally got my old pc back online, I downloaded every episode of MU from iTunes that had been backlogged. I had a glut of content and I was in rapture. Host Benjamin Grundy, now accompanied by Aaron Wright, intoned with pleasant demeanor about the most outlandish stuff possible. Shadow People. Scientific anomalies. Possessions. Modern relics. Anything and everything you would expect from Art Bell, only without the sinking feeling that you were listening to an elderly relative ramble on about murky memories (not to slight Coast to Coast, but they had their share of out-there guests). Grundy and Wright often take their subject matter at face value, and I love them for it. It makes for an interesting broadcast, if only for entertainment's sake. They also include some phenomenal mood music to break up the broadcasts, creating a fantastic air of peculiarity to go with the subject matter.

That's the real thing here, for me. I know so much of what they cover has little or no basis in reality. It doesn't mean it can't give me a thrill. In fact, there have been quite a few nights in which sleep has eluded me that end in me having to turn off my old-format iPod for fear of never sleeping again - stories of the paranormal and bizarre keeping me up beyond when I should have otherwise drifted off to slumber. Back in the original spate of episodes there's a report of a n investigator who made audio recordings of what supposedly was a Sasquatch in the distance. More than once I awoke from a fresh nightmare at the sounds of mournful howling as episodes played in the night, a strange and chilling sound that I couldn't really identify as a known animal. I eventually had to edit that episode out.

 The point of all this is that if you want to give yourself the willies this Halloween season - listen to a few episodes of Mysterious Universe. There will undoubtedly be a mix of stories harvested from all over the world - some strange, some funny, some undeniably made up. Still, there is just that one story in the bunch that will make you reach for the pause button. Tell you what - download an episode this weekend and wait until it's late at night. Put one on and see if there's something in there that gives you the willies. Mission accomplished.

Club Killers

Back and forth, back and forth.


I could make justifications about music for getting down or just get down to business, so why don't I cut you some slack, huh?


I first wrote about Beachland back at the end of July. I was fresh off my honeymoon and in love with the world. Mostly just my better half, but also feeling that universal buzz of feeling all is right with the universe. Now, as Fall settles in and most Minnesotans get ready for The Dreaded Winter, the two of us are feeling the approaching malice of Old Man Winter. We want nothing to do with it, but have to live our lives in spite of it. We may not be able to do much more than crank up the thermostat and imbibe a bit to fight off the impending chill, but we can also toast the dear departed and celebrate with our friends and family in the face of shorter days and yawning nights. Its's appropriately timed with Halloween that I bring to you Horror Club!

Horror Club is a playlist by Nate LC that mixes the best of inescapably dance-able tracks with a hint of brooding, foreboding unease, a sense of the macabre and the morbid. It's a mix that kicks off in high gear, with Salem blasting out the mega-sized 'King Night', setting the tone for the rest of the mix. Flying Lotus tweak the ear just a bit, to keep you off kilter. Chromeo's 'I'm Not Contagious' adds to the dance flair with another added layer of dark, 'Thriller'-esque malice. It's a phenomenal track. Kanye's massive 'Monster' makes an appearance with guest spots by Jay-Z, Bon Iver and Nicki Minaj, of all odd pairings. It fits, but contributes more in bounce than it does in vibe. MGMT's 'Brian Eno' flips the equation on its head, throwing in tons of weird atmosphere with less fun and bounce, but a rocking and ultra-modern song none the less. The Black Keys do their damnedest with 'Too Afraid To Love You', an appropriately haunting tune. Skrillex does his best to melt our collective faces with the evil, funky 'Kill Everybody', almost doing so with the cut beats and snapped and twisted samples. It's one of the few times I feel acceptably old listening to club tracks. HEALTH make even the stiffest, whitest city kids feel hip and loose with 'USA BOYS', a stuttering, staccato track that opens up at just the right times . Sleep Over & Grillgrill ease us out of the madness, singing us to sleep with soothing, more ambient numbers that encourage coming down from the crazy dance sounds.

Look, I could go on and on for the rest of the night making fervent endorsements for this insane playlist of Spooky Month Music. Instead of doing that, I will just hit the integral facts - A) it's free B) it's spooky C) it jams. Straight up. This mix is insane and twisted and full of music you can download right now to get whatever business you claim to instigate on a Friday night going. I've already got it and enjoy the living end out of it. Do yourself a favor and download Horror Club now, before Nate LC pulls it. He's got great mixes for every season, so flip through his tumblr and see what's there. I'll sell you on more of his mixes when the season changes.

Darker, Donnie

Maybe I'm full of it.


I wrote, in yesterday's post about White Zombie, that sometimes the Spooky Month music posts wouldn't all be about solitary, creeping experiences and ambient soundtracks. Today's post is absolutely that. Maybe not quite as solitary, but it definitely touches on the idea. But I'm stalling. On to business! Tonight - the soundtrack to Donnie Darko.


I, like many people, discovered Donnie Darko after the fact. Not quite as late as some, but I am pretty confident I was in that first or second wave of viewers, along with my college roommate Phil, who were tipped off about the movie. My friend Jimmy, an avid cinephile, made emphatic recommendations about it in late 2003, when it was finding its audience on DVD. We were part of the crowd that would have seen it in theaters were it not for the shelving of the film due to September 11th. When I was visiting my parents, I rented it and watched it in the dark of their quiet house, off in the woods of Wisconsin. It may have been the setting or my state of mind at the time, but I was deeply moved by the quiet little movie of mysteries. So I went back to my college apartment and made Phil watch the trailer. He was cautiously curious, having dealt with the brunt of my science-fiction and B-movie obsessions. 

Being the good sport he was, he watched it when in the right frame of mind. And again. And again. We were hooked. We discussed the movie and its many layers, the deleted scenes, the hidden meanings and unintended messages in the movie. Being fall and in a very contemplative mood, I also procured the soundtrack whilst dinking around on the internet. Thus began a long series of autumn nighttime drives up and down the Mississippi River Boulevard, debating college-y concepts while listening to the spooky sounds of the Donnie Darko Soundtrack. These cool, rainy nights approaching Halloween are just a bit spookier and more mystical when listening to the haunting chords and piano melodies that scored the other-worldly film.

Written and arranged by Michael Andrews, the soundtrack is a minimalist, ambient affair (of course) that creates an ethereal air by eschewing typical instrumental dramatics by taking a few unusual routes. No guitars, no drums. Lots of piano and organ, some mellotron. Long, drawn out ideas that create musical landscapes to play inside instead of simply echoing what happens on the screen. Little snippets of electronic sounds and bells add a scare here or there. It's serene and unnerving at once, lulling you into a bizarre dream you find yourself questioning. I love having a big old pair of headphones on and letting this soundtrack shape my thoughts while I write or take a walk through the leaves. Of course, that was less of a risk for getting mugged when I lived in residential St. Paul than the middle of Uptown. 

This soundtrack, while not specifically written with Halloween in mind, is definitely spooky in the best way possible. In my defense, the movie itself is set around Halloween and the climax occurs during a costume party. These quiet, sneaky songs give off an air of the strange and uncanny. If you're up late reading a scary book or going for a walk tonight, put on this album and see what unusual things jump out at you. 

Monster? Mash!

Spooky Month gets funky.

They can't all be paranoid little pieces about haunting, ambient music and personal memories of leaves crunching on the ground, can they? Nah, I ought to switch things up. Stay fresh. Get moving. How about instead of a nostalgic bit on eerie tunes I give you a sonic blast of Halloween-themed goodness? Let's get a little funky. No, not horror-core. That's just bad all around. I'm talking about the furious funk of 'I'm Your Boogie Man'. Yeah, that kind of funk. To be honest, as much as I love the original flavor by KC & The Sunshine Band (with bonus points for being the soundtrack to the scene in Watchmen when The Comedian and Nightowl tame a riot) the version I want to put out the good word for is the insane re-grind by White Zombie.

White Zombie are...were...crazy. Largely the brainchild of Rob Zombie, the band made a pretty dynamic series of evolutions from a groove metal group in the late 80s to become the industrial funk outfit they were most known as by the time they dissolved in 1996. They had mainstream success with their last album, Astro-Creep: 2000, which of course unleashed the massive 'More Human Than Human' on the public. One of their last offerings to the masses before their dissolution (Rob Zombie spinning off to become a distilled entity of the band on his own) was this cover for the soundtrack to City of Angels, the disappointing sequel to The Crow. In one shot they sent out a blast of funky, grinding spooky madness that I make sure to include in any Halloween playlist/mix/partymusicwhathaveyou. I loved blasting this song, for example, while gearing up for the recent mess that was the Zombie Pub Crawl. Good times in grease paint and fake blood? Rob himself would be proud.

Kicking off with a dirty bit of distorted wah-wah guitar, 'I'm Your Boogie Man' jumps right into the thick of it with a heavy, somehow danceable combination of drums and minor bass notes that build the core of the song. Mr. Zombie layers on discordant keys and a chorus of excited kids screaming "The boogie man is coming! He's gonna get you" to build atmosphere and just be freaky in general. The verse rips open with a searing guitar to match the bassline while Rob's voice growls the words in an almost inhuman wash of distortion. Like the band or not, there's no denying they do this kind of thing incredibly well. I adore the synth lines that come in before the chorus that ape the horns in the original version. When the song breaks loose and tears into the hook, it's insanely heavy. The blasts of guitar and bass while Zombie screams the hook are full of menace and Halloween cheer, both dangerous and fun. Somehow it's totally danceable despite the madness comprising the tune.

Like I said, I love this crazy cover and throw it into any October entertaining I do. Not like a sit-down, wine glasses and fancy cheeses kind of thing, but more of going to a scary movie or having people over before a midnight screening at the Uptown Theater. White Zombie may have called it quits soon after releasing this cover but I'm glad they let us have this one before they did. It's Monster Mash, for sure. 

X Marks The Spot

Let's get less political and more fictional, eh?


Yesterday's Spooky Month post got a little to real for me. I know, I wrote it - I should be able to reign it in. So how's about a whole soundtrack to my favorite month and a bit of cultural zeitgeist from days past? Instead of just a spooky single, let's take a look at a creepy collection of music, one that works from ambiance and subtle hints rather than hit-you-on-the-head heavy handedness. I want to tell you about the musical companion piece to the old cult hit The X-Files, Songs In The Key of X.


There was a time in the mid 90s where my older brother was part of a CD Club. Do those even exist anymore? For those of you too young to know, you join this organization that gets you a whole slew of cheap CDs the first month, then kind of auto-mails you the next CD every month after. Usually people singed up for the crazy deal (20 CDs for 20 cents!) and then got a crummy CD mailed to them every month at cost because they were too lazy to cancel. Not us, though. We got in, got our music and got out. He got tons of good music and let me pick a couple albums with him, then we had to order I think two or three at retail price to get the full discount. He had nothing on his wish list he wanted, so I sorted through the catalog to see if anything stood out. See how quaint this was? Man, iTunes was such a game changer. Anyway, I saw a compilation that listed among its entries Foo Fighters, Filter, Rob Zombie, The Meat Puppets and R.E.M. I was also big into The X Files at the time, so I filled out the paperwork (yeah, I know) and it arrived a couple weeks later as the leaves were turning. Both the impending Fall and the tone of the album have inextricably tied Songs In The Key of X to Halloween for me, and this time every year I find myself putting it on for both enjoyment and nostalgia. Turns out it still holds up, if it appeals in any way.

The thing about this album is that it's not really a proper soundtrack to the wonderfully twisted TV show. It's more a loose collection of songs that fit in theme or tone to the paranoid and twisted, the conspiracies and cover ups. The iconic theme song, haunting as ever, opens the album. From there, though, it branches out into appropriately weird territory. Alterative legends Soul Coughing turn in the fun and bizarre 'Unmarked Helicopters', a buzzer of a song that bears all the signs of the decade. Sheryl Crow sings the heartbreaking 'Standing On The Outside', which creates an air of noirish isolation with sparse, reverb-drenched guitars and walls of harmony. It's actually a beautiful, if mournful, tune. Foo Fighters cover 'Down In The Dark' by Gary Numan, adding to the paranoia and weirdness with the hypnotic head-bobber of a track. Filter, then still known more for 'Hey Man Nice Shot' than 'Take My Picture', offer a strange and squiggly little acoustic number with 'Thanks Bro'. Nick Cave and The Bad Seeds make their indelible mark with the always spooky 'Red Right Hand'. This song screams Halloween, with its chimes, plucked strings and dark, dramatic vocals.

While the paranormal and off-kilter exist in harmony here, things sometimes get more off kilter than paranormal. Show-casing the more quirky side of the show are numbers by P.M. Dawn, R.E.M.'s collaboration with William S. Burroughs or Screamin' Jay Hawkins. The Meat Puppets are all alt-pop with their lyrically relevant but sonically cheery 'Unexplained'. Elvis Costello pairs up with the ambient genius Brian Eno to make a wonderfully weird addition with 'My Dark Life', which fits both in tone and theme. Rob Zombie teamed up with progenitor Alice Cooper to deliver some blisteringly evil metal with 'Hands of Death', showing how the student became the master in their shared genre. Also, in another bizarre sign of the show's influence, rewinding the album behind the first track brought out two more songs, another from Nick Cave and Mark Snow. This under-utilized trick of the medium blew my mind when I first discovered it back in 1996, just as Chris Carter would have wanted it to.

This album, while not a soundtrack in the proper sense, is nonetheless a soundtrack to my Fall and Halloween every year. I adore the creeping and strange sounds, the light and the dark of the pop and alt, the sad and upbeat sounds playing off each other so well. The tunes may not all have appeared in the paranormal procedural but they fit the tone in spirit, creating an air of mystery for my favorite time of year. If you miss this iconic show or just want some music to give you pause while you walk through the leaves collecting on the sidewalk, go dig up this gem. There's an artist for everyone here, I guarantee it.

Citizen Suspicions

Evening, all.


I write this with a bit of trepidation, as I feel it warrants a fair bit of justification in order to include it under the umbrella of Spooky Month Music. You know, though? I'm going for it. Why should I have to apologize for a track in a playlist? I'm not trying to offend, just throwing mental spaghetti at the wall to see what sticks. So it is with mixed levels of confidence and wariness that I make today's Spooky Month recommendation. I'm Afraid of Americans.


Who wouldn't be? We're huge. We are the elephant in the room. We barge in at any social (global) event and make it about us. We're teenagers on a global scale, why wouldn't we? That's what we do, and for better or worse we do it well. By and large we've been responsible for some amazing things in the last 200+ years we've existed. We've also been present for, and caused, some of the most horrible things you could fathom. Being an American, at least in my own short existence in the post-modern age, has been a dichotomous one - pride in being a powerful, prosperous nation (at least five years ago, anyway) yet shame in our heavy handed, ego-centric approach to some of the more nuanced issues. Lest I delve any further into the issue and start actively and irreparably shoving my foot into my mouth, I will say that this understanding of American citizenship helps shape my context of David Bowie's killer single, remixed by Trent Reznor.

It's two great flavors that taste great together. Bowie, with his British style and refinement, writing a biting, insightful track about our omnipresence in the world with the help of genius Brian Eno. Reznor, all American dramatics and angst, deconstructing and re-contextualizing the established order to create a fresh, biting sound. These two, working on the song from Bowie's 1997 album Earthling, crafted tune that not only forces the listener to question assumptions but also makes a Hell of an ominous, funky little ditty to have throbbing in the background while entertaining. It's the kind of song that I like to include as part of my Halloween/cocktail-hour playlists in iTunes because not only is it a killer song with a killer vibe but those who hear it and get Bowie's message might think about how the world is a dangerous place, even here in America. It's spooky music, not in the ghouls and goblins sense, but in the mood established through tone and message, a song full of paranoia and malice. 


The track, with its Reznor-requisite beeps, buzzes and fuzz, is also bolstered by the crazy video produced for it. One must bear in mind, though, that it was created back in a pre-9/11 world wherein criticizing the U.S. was a much different thing than it is today. Seeing Bowie chased through New York by a menacing Reznor and kids with finger-guns was both odd and amusing. It was cool to see the two, a pairing of kindred artists, making a bit of a statement about our gun-obsessed culture and our lack of tact. Now it seems even more odd and somehow more provocative in light of our political landscape. 

See how I get off on tangents when I get going on geo-political topics? It's not a Halloween song like the Addams Family theme or the Monster Mash, but it's a track with teeth, a darkly toned grind of a song that Bowie delivers with unflappable cool. Reznor's influence is just icing on the cake. Sneak it into a mix and see if anyone picks up on it. It's like a musical Rorschach test for Halloween.

Bleed Out

We're switching gears!


Spooky Month is now going to be focusing on music for the morbid, tunes for the twisted, metal of the macabre! Other puns! Bad descriptions! It's going to be a week of creepy, freaky deeky music, the kind of stuff you would really only want to play on Halloween but I play all month long because...well...I love Halloween.


So...Slipknot. Yeah. They're insane. They're kind of nuts. Like, they're a band I have little-to-no interest in pursuing much further beyond this single. I'm too old and soft to be into such aggro, antagonistic metal. There's like 9 guys in the band and they do all sorts of weird things during their shows, injuring themselves and I don't know what all. I know I sound like an old, writing this, but it's beyond the realm of my give-a-crap. I'm just saying, I'm all for the spectacle of Marilyn Manson, but these guys are nuts.

So why do I bother writing this? Cause their single 'Wait and Bleed' from 2001 is actually pretty decent for horror-themed tunes. It's got all the right moves for a nasty, grimy track that gets under your skin. The vocals (depending on the mix you hear) vacillate between anguished howls and grunts to a sing-songy, pleasant voice that almost seems out of place in such a furious tune. The low bass riding under the refrain gives a slinky, evil feel to the softer vocals; the buzzsaw guitar riffs in the verses add machismo and malice to near-indecipherable lyrics. It's antagonistic and pained, but man if it isn't catchy.

Like I said, not a huge fan of this band. I dig 'Wait and Bleed' for the things their fans probably hate. Parts of it have a cool melody. The verses show what they're know for. It's unnerving stuff for Spooky Month. Let's find some more palatable music tomorrow, eh?