{"id":652,"date":"2022-10-21T18:10:53","date_gmt":"2022-10-21T18:10:53","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-10-21-staff-pix-1021-halloween\/"},"modified":"2022-10-21T18:10:53","modified_gmt":"2022-10-21T18:10:53","slug":"2022-10-21-staff-pix-1021-halloween","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-10-21-staff-pix-1021-halloween\/","title":{"rendered":"Staff Pix 10\/21 : Halloween"},"content":{"rendered":"
\n

The Milk Crate Staff selects their favorite spooky songs to create the perfect Halloween playlist. Tune in Fridays 2-3est to the Staff Pix radio show.<\/p>\n<\/div>\n

\n

Karenna Umscheid<\/h1>\n

No Stars by Rebekah Del Rio<\/h2>\n

The soundtrack of Twin Peaks: The Return<\/em> is consistently dark and haunting, with a performance at the roadhouse diner closing each episode. It\u2019s a nightmarish place containing prophecy, tragedy, and visits from mysterious figures from other realms. \u201cNo Stars\u201d is the perfect track to encapsulate the mystery, fear, and tragedy of Twin Peaks<\/em> as a whole. Del Rio\u2019s voice echoes through history, and rings through the minds of Twin Peaks<\/em> fans, sending chills down our spines. The song makes me feel as though I am alone in an empty, terrifying forest, and there is not a single glimpse of light, nor a star in the sky to guide me to safety. It is a track to venture you towards hopelessness, towards an endless black void of pain and sorrow. Where all goodness is in jeopardy. <\/p>\n<\/div>\n

\n

Parker Bennett<\/h1>\n

Vampire Hunter J by J-Live<\/h2>\n

J-Live\u2019s criminally underrated 2001 album, The Best Part<\/em>, was written, recorded, and released all while the rapper was teaching junior high school in Brooklyn. Partly because of this, every single song on the project is packed with layers of meaning and adorned with all the analytical capacity that makes English teachers salivate. Case in point: \u201cVampire Hunter J\u201d, a cheesy, bite-sized track that sees a comically spooky beat paired with lyrics about garlic and wooden stakes. At first glance, it\u2019s a charming gimmick of a track that works as a horror-homage interlude in the greater scheme of the album. But when you take a second to look at the lyrics, the horrors J-Live is rapping about here are incredibly grounded, real, and terrifyingly dangerous. As he himself says, \u201cI\u2019m not speaking on a fictional figment of folklore, but more like the type to provoke war.\u201d The \u201cvampire\u201d that J-Live has his lyrical crucifix aimed at is an incredibly apt metaphor for white nationalism, imperialism, and the effects of colonization. Here, the vampires are very much real entities, sucking Black neighborhoods and cultures dry and erasing the signs of their existence. Despite oozing with stereotypical horror cheesiness, \u201cVampire Hunter J\u201d is actually a terrifying depiction of the real horrors that lie in this country\u2019s past, present, and future, and its subversion of Halloween tropes is part of what makes it such an incredible achievement of literary excellence.<\/p>\n<\/div>\n

\n

Lily Hartenstein<\/h1>\n

I Want You To Suffer by Cindy Lee<\/h2>\n

With not a mention of monsters or costumes, Cindy Lee\u2019s What\u2019s Tonight To Eternity <\/em>wholly encapsulates the sense of Halloween, despite its ironic release on Valentine\u2019s Day. The album\u2019s standout single, \u201cI Want You To Suffer,\u201d kicks off with the almost crazed plucking of an ethereal harp as Lee\u2019s haunting vocals come in, lifted by the best instrument of the season, the harpsichord. Lee\u2014the drag queen moniker of Patrick Flegel\u2014uses few lyrics in the seven minute track, but their effect is piercing, alluding to an experience of abuse and indicating the thin line between lust and hate: \u201cI want you to suffer,\u201d Lee sings, but the final refrain simply states \u201cI want you.\u201d These themes are only amplified auditorily as the song descends into jarring discord, which builds to an almost unbearable level of grating sound until it fades out into a pensive, almost religious few notes, where Lee sings the same lyrics in new light. It is an extraordinary sonic exploration of fear and abuse, with a bloodcurdling effect. <\/p>\n<\/div>\n

\n

Minna Abdel-Gawad<\/h1>\n

Halloween by HUNNY <\/h2>\n

Four person garage rock band HUNNY put out their song “Halloween” as the final track on their 2019 debut album “Yes. Yes. Yes. Yes. Yes.”  Unlike many other Halloween titled songs, like “This is Halloween” or “Halloween” by Phoebe Bridgers, this track does not attempt to match the energy of the spooky season. Rather in HUNNY fashion “Halloween” begins with a groovy guitar solo accompanied by synths and lead singer Jason Yager using his whiny vocals to announce “I currently am without you.” The song takes a fun play on the holiday and is an anthem for all the last minute party go-ers and non costume planners featuring the lyrics “I just remembered it was Halloween\/\/ So I guess I’m going as a guy who’s paying parking tickets\/\/ On his laptop on the living room floor\/\/ In the same clothes I wore yesterday\/\/ I don’t think that I’m gonna change.” While the song isn’t classically spooky song the track is still a fun play on the holiday and can be put on a Halloween playlist.<\/p>\n<\/div>\n

\n

Everly Orfanedes <\/h1>\n

Halloween by Phoebe Bridgers <\/h2>\n

There is truly nothing spookier than the scream I scrumpt when I first heard \u201cHalloween\u201d by Phoebe Bridgers live in concert. This halloween season, it is important to shine light on the emotional terror which is envoked when you listen to the album Punisher, <\/em>Bridgers\u2019 highly successful 2020 release. \u201cHalloween\u201d is a mix of sorrow and melancholy vibes which shine within the haunting bass and strings that swaddle the song in a warm embrace. The heavy reverb and fading vocals, with Bridgers\u2019 singing \u201cI\u2019ll be whatever you want,\u201d again and again solidifies the gut wrenching aspect of this banger, and sends paralyzing shivers down your spine. <\/p>\n

<\/p>\n<\/div>\n

\n

Cate Banks <\/h1>\n

Sweet Dreams by Angel Olsen <\/h2>\n

Halloween has been my favorite holiday since I was little and to be perfectly honest, I believe it is one of the biggest pillars of my personality. So, while I do love a good cheesy halloween bop like \u201cMonster Mash\u201d or \u201cThriller\u201d, I have devoted a lot of time to discovering non-flashy spooky season songs with the perfect audio atmosphere of fall, mystery, and that niche feeling you get on Halloween night. There are so many classic rock songs, modern folk tunes, and hardcore punk pieces that embody this chilly vibe however my favorite contemporary song that gets me in the most eerie-autumn-exploration mood is \u201cSweet Dreams\u201d by Angel Olsen. This indie rock anthem starts off with a spine chilling guitar riff that repeats throughout the entire song; muted with a soft electric sound and eventually layered with harsher melodies ridden with classical creepy reverb, this guitar heavy backtrack most definitely contributes to this song’s nightfall aura. On top of the intense and adventure-craving refrain, there is a harsh juxtaposition between the rough instrumental background and the foreground of Olsens hair-raising vocals. Almost chant-like, she has an ability to produce such a pure tone it sends chills down my spine with every harmony that is piled on top. It\u2019s that choral and densely vibrato timbre that creates this audible spectrum of mystique. Every time I turn this song on, all I feel is that I am walking through an empty, leaf covered street on a crisp halloween night, waiting for something to come out of the corner\u2026 If you want more of this vibe, tune into WECB’s Rabbit Hole Radio on Thursday from 11am-12pm next week for an Alt. Halloween set! <\/p>\n<\/div>\n

\n

Julia Norkus<\/h1>\n

i haunt your dreams by hey, nothing<\/h2>\n

Nothing is more terrifying to me than an unknown presence lurking in the shadows, watching my every move while plotting the perfect time to pounce. However, \u201ci haunt your dreams\u201d is probably the happiest song about that semi-stalking behavior. The song uses the metaphor of being a ghost who haunts a lover who keeps ignoring them. It\u2019s all to emphasize just how much the singer loves and wants to be around their partner, even in the quiet and unglamorous moments that the rest of the world never really sees, but also just wants a text back. While it is about love and sounds upbeat, the singer talks about losing themself like a ghost, watching parts of them disappear as they grow more upset with their partner, resulting in their wanting to haunt this person. hey, nothing incorporated other spooky elements to get their point across with distorted guitar, some eerie voice-overs and whatever instrument makes the stereotypical \u201cboo\u201d of a ghost. For a not-so-scary Halloween love song, \u201ci haunt your dreams\u201d has you covered. <\/p>\n<\/div>\n

\n

Stephanie Weber<\/h1>\n

Spooky by Dusty Springfield<\/h2>\n

Although not a traditional Halloween song, \u201cSpooky\u201d by Dusty Springfield tells the story of a girl (presumably from Springfield\u2019s perspective) and the \u201cspooky\u201d boy she\u2019s seeing. Originally released in 1968, \u201cSpooky\u201d is full of Halloween innuendos like the lyrics \u201cjust like a ghost you’ve been a-haunting my dreams\u201d and \u201cLove is kind of crazy with a spooky little boy like you.\u201d The song is featured as a single release, in the film Lock, Stock<\/em> and Two Smoking Barrels<\/em> (1998), and Springfield\u2019s Love Songs<\/em> (2020) album compilation. \u201cSpooky\u201d is truly a classic Springfield love song, full of longing and insecurity; the girl is coy and tries to hide her feelings for the boy who couldn\u2019t care less about her. Jazz elements, tambourine and trumpet features, and snapping create an all-encompassing song about a song you\u2019re able to move and groove to while listening to the meaningful lyrics. \u201cSpooky\u201d is not only a fall song for its Halloween adjective name, but it\u2019s moody and dark, perfect for a stormy autumnal night.  <\/p>\n<\/div>\n

\n

Lily Suckow Ziemer<\/h1>\n

Jack\u2019s Lament by The All American Rejects<\/h2>\n

One thing about me: I love The All American Rejects. But when I hit shuffle on their discography and \u201cJack\u2019s Lament\u201d comes on, I\u2019m initially taken aback. The song is part of a collection of covers by multiple artists of the songs in The Nightmare Before Christmas<\/em> released in 2008, two years after the movie. It has a bit of a show tune feel, which personally isn\u2019t my thing, but I think it has a wide appeal. The original version of \u201cJack’s Lament\u201d is somewhat sparse, relying on a more orchestral background. But in this cover there is much more energy, featuring sounds reminiscent of clacking bones, and dramatic backing vocals. Tyson Ritter\u2019s whiny voice further creates an exciting melody to sing along to.<\/p>\n<\/div>\n

\n

Sarah Fournell<\/h1>\n

Salem by fox academy <\/h2>\n

There\u2019s nothing spookier than seasonal depression! When the weather gets colder and the world around us turns browner, it gets easier and easier to cancel all of your plans to dwell on the past. \u201cSalem\u201d by Fox Academy is my go to stare out the window for hours track. The inherent sadness in lines like \u201cWhy don\u2019t they leave you\/At home by yourself\u201d send bone chilling rushes through my body. However, the hokeyness of lyrics like \u201cLeave like David Copperfield\u201d keep my mind grounded. I fear without the joviality, the song would be too much to bear. Therefore, it\u2019s my scariest autumn track, \u201cMonster Mash\u201d cannot compare in fright factor.<\/p>\n<\/div>\n

\n

Patrick McGill<\/h1>\n

Touched by My Bloody Valentine<\/h2>\n

When did the joke start that My Bloody Valentine sounds like vacuums talking to each other? Personally, I have no idea but when people take that seriously I always kinda flinch or raise my eyebrow. Sure, it\u2019s nowhere near traditional in terms of alternative music of the time but there are melodies, choruses, and some heart on your sleeve songwriting seen in \u201cWhen You Sleep\u201d or \u201cSometimes\u201d. If there is any validity to the vacuum comment though, it most definitely can be attributed to this song, the drummer produced \u201cTouched\u201d. A minute-long interlude with no lyrics, it still may be the most haunting song in MBV\u2019s catalog. Starting with a minimal drum beat and guitar swells that sound like shrieking voices, this wall of tormented sound is intermittently interrupted by these perky synths whose datedness and muddled production only makes them more creepy and lost in time. Who knew cleaning supplies could be so shocking?<\/p>\n<\/div>\n

\n

Shreya Partha<\/h1>\n

Turn the Lights Off by Tally Hall<\/h2>\n

When Tally Hall puts out songs like \u201cTurn the Lights Off,\u201d it would be an injustice to not talk about it. Despite being released in 2011 under the album \u201cGood & Evil,\u201d this song, to me, is perfectly emblematic of the spooky, crescentic vibes that Halloween emanates. With lyrics like \u201cAnd everybody wants to get evil tonight\/\/But all good devil’s masquerade under the light,\u201d Hall captures the essence of spooky season and leaves us feeling antsy for more and ever so craftily, they deliver. Their lyricsm throughout the song is unparalleled and is littered with nuanced phrases like \u201cEverybody likes to get taken for turns\/\/To see how bright the fire inside of us burns\u201d and \u201cCan\u2019t they take it? Should be stronger\/\/Books abandoned, breathe the water.\u201d Tally Hall songs never miss the mark when it comes to a catchy tune and vivid imagery, and \u201cTurn the Lights Off\u201d is no exception.  <\/p>\n<\/div>\n

\n

Lauren Larking<\/h1>\n

Time of the Season by Zombies<\/h2>\n

For anyone that has seen and been perpetually haunted by the \u201cHide & Clap\u201d trailer for the first The Conjuring<\/em> movie, this song is one of nightmares. Although it was not not originally intended by the Zombies to be a symbol of one of the scariest horror movies ever made, the off-putting drum beat with the rhythmic Ah\u2019s in the background of the verses creates a spooky atmosphere. \u201cTime of the Season,\u201d from Zombie\u2019s 1968 album Odessey and Oracle<\/em>, was really about psychedelia in the 60\u2019s and the time of the season was actually the \u201cSummer of Love.\u201d For horror movie fanatics, this song will forever ring of the cursed clap-clap game that Lorraine Warren plays with her kids and consequently gets jump-scared out of her mom robe by the little demon in the closet. Even though it\u2019s a song about summer, \u201cTime of the Season\u201d will always remind me of fall. If that is more because of Colin Blunstone\u2019s eerie vocal harmonies or Warner Bros. twisted movie trailers\u2013 I guess we\u2019ll never know.<\/p>\n<\/div>\n

\n

Farah Rincon<\/h1>\n

Lost by Crim3s<\/h2>\n

If Halloween had a music genre, it would most definitely resemble the eerie, haunting sounds of the witch house movement from the late 2000s. This electronic dance music is designed to be particularly unpleasurable, chaotic, and overall disturbing. Yet, as an avid listener of the genre, I continue to grow addicted to the horror-inspired music, which you can still find circulating around social media and the dark depths of the internet. Not only is Crim3s\u2019 \u201cLost ” an accurate representation of the witch house genre, but the song perfectly captures the spirit of Halloween. The song is uncanny, sinister energy is birthed through its layered incomprehensible screams, echoing synths, reverberated melodies, and boosted bass lines. \u201cLost\u201d, Crim3s\u2019 most popular song according to Spotify, is a short two minute and thirty seconds, but definitely has a vibrant personality of its own. Projects like these, which contributed to the witch house movement, have truly scared me into wanting more.<\/p>\n<\/div>\n

\n

Nathan Hilyard<\/h1>\n

WOMEN OF SALEM by Yoko Ono<\/h2>\n

Yoko\u2019s wacky musical canon is nicely condensed into her recently released live album Let\u2019s Have a Dream<\/em>. Her live performance is unusual and spritely, jumping around on stage and swinging her vocals around like a cat. \u201cWOMEN OF SALEM\u201d hums with snotty band arrangements behind the lowering melody \u201csalem, salem, witches must be hung.\u201d In the songs final spooky moments she opens up to firey screams and wails, expletives shooting through the fire of religious fervor. Yoko\u2019s \u201cWOMEN OF SALEM\u201d is an anthem for women is persecution, a hymn for women and witches alike. <\/p>\n<\/div>\n

\n

Anya Perel-Arkin<\/h1>\n

The Murder Mystery by The Velvet Underground<\/h2>\n

I think it would be really funny if I let the song speak for itself. Almost any Velvet Underground song can be fitting for Halloween, yet this is the most terrifying one. From Lou Reed\u2019s eerie and nonsensical poetry to Doug Yule\u2019s organ playing, this song puts Dies irae<\/em> to shame (not actually, I could never say that).<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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