Wednesday, October 31, 2012

More Atlanta artists and writers weigh in on their Halloween favorites

Posted By on Wed, Oct 31, 2012 at 1:15 PM

In case you missed it, check out "Atlanta artists, DJs, and music scribes conjure up 19 of their favorite Halloween jams." After the list went up yesterday, more folks started weighing in their spooky favorites — enough to warrant a sequel.

While not necessarily "Halloween" themed, for my money, this is one of the most frightening records ever made. Basically an exorcism into a microphone. I interviewed Henry Rollins for a fanzine in November of 1984. He told me that he recorded his vocals in the studio's lounge area (complete with couch and Coke machine) holding a Shure 58 mic in his hand, just like he would onstage. This allowed him more freedom of movement. The creaking sound you hear at the end of this song is Henry crumpled into the fetal position on the floor with his head banging against the leg of the couch. You then hear the Coke machine come on just before the tape cuts. — William DuVall (Alice In Chains)

Stereolab — “Come And Play In The Milky Night”: This one is more personal to me and literally transports me to October 31, 1999 every time I hear the opening atmospheric filtered synths. This is the closer of the ultimate Halloween album in my opinion (the cover is even orange and brown.) Laetitia urges all the children to come and play on the blasted heath of weird fog. Easy to picture cauldrons and bats and things. Orange and brown. — Bradford Cox (Deerhunter, Atlas Sound)

Broadcast & the Focus Group — “In Here The World Begins”: Again, a female narrator assumes a witchy presence and instructs children to go sleep and ignore the demonic glowing pumpkin tones flying all over the damn place. Shadows of shadows and doors that open into doors. A completely evocative séance-like dream sequence from the distorted harmonic vacuum. — Bradford Cox

The Revels - “Midnight Stroll”: An absolute classic. Not to be confused with Sheriff and the Revels who were responsible for the equally classic "Shombolar." If you listen to it you won't need me to explain it to you. — Bradford Cox

George Crumb — “Black Angels”: The first section is called "Night of the Electric Insects." Fuck. — Bradford Cox

Several years ago I spent Halloween weekend at the Jekyll Island Club with my girlfriend at the time after researching haunted hotels in the Southeast. The Necks' "Drive By" was the last thing we listened to as we drove into the island. The weather was conveniently gloomy and everyone there's almost dead anyway so those suspicious piano swirls and anxiety-ridden organ riffs were a fitting accompaniment. — Farbod Kokabi (Lyonnais / Geographic North Records)

Clint Mansell's "Lux Aeterna (Winter)" from Requiem for a Dream: I remember going to a screening of Requiem for a Dream at the Georgia Theatre in Athens when it came out. That movie terrorized me; I felt like I had PTSD when I walked out of the theater. Clint Mansell's score is a haunting, Pavlovian reminder that drugs are bad, you guys. They are bad, bad, bad. NOTE: This video is NSFW. There are naked people in it. — Debbie Michaud, Creative Loafing Editor-In-Chief

Everyone knows there's nothing spookier than a creepy soulful white guy like R. Dean Taylor, so it's especially appropriate that his signature tune, "Ghost In My House" (the Fall covered it, too!), addresses his own problem with specters in his crib. — Greg King (G.G. King)

Drunken Scandinavian teenagers obsessing over a particularly riveting scene from The Texas Chainsaw Massacre 2 are equally Halloween appropriate, so here’s Mayhem with an early hit called "Chainsaw Gutsfuck." — Greg King

Dawn of the Dickies is an all-time favorite of mine, particularly the first side of the record. I always found the Romero-esque cover to be a bit unsettling, but as soon as the song fire's up it's nothing but fun. — Chad Radford

The Birthday Party - "Nick the Stripper": I'm more of a fan of mischief night. Fuck a costume. Better to be smoking blunts riding around in the truck smashing mailboxes to this song. Nick Cave. Eat your parents. — Britt Teusink (deadCAT)

Michael Jackson's first #1 hit as a solo artist was the theme song to a 1972 horror film about a pack of violent, telepathic rats. Note the subtlety of the string arrangement, and picture a swarm of hungry rodents on a death spree. The last time I heard it on the radio I was strapped into a dentist's chair in South Georgia. The hygienist told me it was her favorite roller skating jam back in junior high and then, reaching into my mouth while I looked on in terror, she started to sing along. — Will Stephenson

I think Throbbing Gristle released this on Industrial, and by this I mean the recordings of Jim Jones and the Jonestown Massacre. Why does this make me think of Halloween? Well let's be honest, Halloween is not that scary, really. It's punch and candy and "sexy ____" costumes. Now recordings of people screaming and losing it as they commit mass suicide is pretty scary, I guess. But in keeping with the theme of honesty, they killed themselves by drinking Kool-Aid. Ok not just Kool-Aid, but for real, it's not as scary as a sword or a Satanic alter. — Josh Feigert (Wymyns Prysyn)

There's no question that Ray Parker Jr.'s "Ghostbusters" is one of the most awful-yet-awesome theme songs of the '80s. How much I actually wanted my own proton backpack to exterminate ghosts alongside Bill Murray, Dan Aykroyd, and Harold Ramis (not so much Rick Moranis), however, is an entirely different story. — Max Blau

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