Promenade - Various - Orchestral Fantasia (CD, Album)
Another album from the Naked City discography, Absintheis the polar opposite in all but nightmare potential. Compared to the noisy and chaotic self-titled, a majority of Absinthe is very heavy, very long, and very dark droning sounds that can put even the most well-adjusted listener on edge.
Particularly disturbing is track four, "Fleur de Mal," which can only be described as auditory Nothing Is Scarier. Not to mention whatever the hell that is on the album cover. Wall of Voodoo had a few disturbing songs, especially during the Stan Ridgway era. Their debut EP had "The Passenger," a very urgent piece which appears to be about a terrorist who brings a bomb with him onto plane. It has an abrupt ending, before fading back in with an eerie elevator-music coda.
The very last track on the EP is a second instrumental, which frankly sounds like one of the more fucked-up songs from the Silent Hill soundtrack. It consists of a bouncy rhythm track, a whiny droning synth, and a ringing telephone. It fades out as quickly as it fades in. The title of the song? It comes right after the humorous song "Can't Make Love", in which the narrator expresses his frustration with not being able to get anyone in bed.
While "Struggle", with its whirring melody and rhythm section which brings to mind being chased is disturbing enough, near the end, a panicked woman's moaning and gasping can be heard — perhaps the titular struggle, which brings to mind sexual assault. Paired with "Can't Make Love", it could very well be a very dark sequel. Calvin Wilkerson's self-titled album is full of this.
Charlie Musselwhite's first recording of "Christo Redemptor" features Barry Goldberg's scarifying organ, Charlie's high and lonesome harmonica, and Harvey Mandel's bleak guitar solo toward the end. The whole work sounds like the soundtrack to the aftermath of a horrible crime scene.
Billie Holiday's "Strange Fruit", describing the lynchings of African-Americans in dark, bleak, and sorrowful detail. This is the soundtrack to every sex orgy in Hell. The song transitions out of this phase to a car chase conclusion with a spatter of gunfire followed by nobody screaming, and the piano player presumably shot and falling to make the final note.
Parts of "Om" by John Coltrane. You ever heard a saxophone scream in terror? Johann Sebastian Bach : "Toccata and Fugue in D minor" is particularly popular in old horror movies due to its minor key and startling changes from soft to thundering. This of course lead to many haunting moments. Luciano Berio: The Sequenza series. A list of serialist pieces which wouldn't sound out-of-place if the Silent Hill games made greater use of music.
It even makes the sound of an accordion seem unnerving. The worst? That muttering Hector Berlioz : Certain parts of Symphonie fantastiqueparticularly the last two movements.
Especially if you know what they're about. The "Dies Irae," a part of the Requiem mass taken from a 13th-century hymn. It describes the Last Judgment. Berlioz did manage to change the way the tune was used, however, when he quoted it in his aforementioned symphony, and it's been parodied ever since as in the Saint-Saens piece described above. Creepiness incarnate at the beginning Which, coincidentally, is what the last movement is supposed to be about.
John Cage : ''In the Name of the Holocaust'' manages to be more terrifying than most Nightmare Fuel by prepared piano alone. No lyrics, no ominous bells. Imaginary Landscape No. If anything, the video accompaniment here makes it even worse. George Crumb: "Black Angels". It will make you feel like insects are crawling up your skin. Paul Dukas: " The Sorcerer's Apprentice " also has a very eerie atmosphere.
Thanks to Disney's "Fantasia" the music actually became more unnerving. Bernard Herrmann 's score to the Hitchcock film Psycho would have been scary enough even without the imagery of the film. Mediaeval Baebes: "How Death Comes. Goes from scary whispering to shockingly loud. Most of Olivier Messiaen 's piano suite Vingt regards. Some examples. Modest Mussorgsky : " Night on Bald Mountain " really sounds as if all demons from Hell are brought together. If you hear the scary music that Mussorgsky wrote for these passages you're actually glad that the original paintings that inspired him are lost.
Ten minutes of the scariest music ever. The Dream of Jacob. In one of the bonus features for Inland EmpireLynch said one reason his wife divorced him may have been that he kept playing it on the stereo really loud.
Utrenjawhich seems to exist solely to make people scream. The chanting from the chorus is unnerving, and the rhythmic knocking sound sounds like a pair of skulls being smashed together. And then come the ear-splitting clanging and sirens. Most of his symphonic pieces; there's a reason that several of them were used as the soundtrack to The Shining. Let's not even think about what it says about Adrian Veidt that he apparently listens to them for fun.
Here are a couple of links. Sergei Prokofiev "Montagues and Capulets". Its intro is frightening enough, then atit goes into overdrive. Peter and the Wolf. The music accompanying the cat trying to catch the little bird has a literal Jump Scare moment when the cat misses him. The threatening horns when the wolf leaves the forest. The music when the cat notices the wolf and quickly climbs the tree. Scary enough, but then the wolf chases the duck and devours the poor creature, all accompanied by nervous music that makes little children's imagination go berserk.
The spooky flute representing the bird and the equally haunting bassoon representing the granddad slowly walking towards Peter.
Maurice Ravel 's La valse lends itself to this trope with its disjointed melodies, jarring dissonances, and wild Album) in mood and tempo. It moves deeper into nightmare territory as it progresses, culminating in a violent climax that suggests a demonic orgy gone horribly out of control.
Gioachino Rossini has the second part of the William Tell Overture, appropriately labelled the "Storm" segment. The familiar portion with the full orchestra is probably the scariest of all.
Saint-Saens' "Danse Macabre" isn't exactly balmy, particularly the opening. You are forgiven in advance for jumping out of your seat 19 seconds in. Arnold Schoenberg: "Pierrot Lunaire". There had been lots of scary music made before Schoenberg, but he was the first person to make music creepy.
In fact, he's been so imitated by modern composers including on numerous horror film scores that it can sound a bit Dated. It's even worse after you watch the torture scene it's played during. The son refuses and begs his father to save him. The song got its nickname thanks to urban legends which are now thought to have been spawned by Holiday's record label, as the original Hungarian version was said to have inspired the suicides of anyone who heard it, and indeed Seress took his own life in However, Holiday's version added a third verse which modulates to a major feel and suggests that the previous verses were merely a fleeting dream.
Still, the final lines - "Darling, I hope that my dream never haunted you My heart is telling you how much I wanted you" - leave many disturbingly unanswered questions. Dmitri Shostakovich : "String Quartet, No. For real nightmare trips, plays his last two string quartets - especially No. Capitalization in your lyrics should follow traditional grammar rules. Proper nouns should be capitalized. Additionally, all lyric lines should begin with a capital letter. Do not end any lyric line with a period or comma.
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When submitting metadata, refer to the following table for the list of acceptable keys. For composers who already have content available on Apple Music and the iTunes Store, use the existing spelling found there.
The following table lists a few well-known composers. The following table lists a few well-known orchestras and conductors. Primary Artists at the Album Level. The main artists highlighted for Western classical music must be marked as Primary at the album level. For example, for a recording of:. Beethoven symphonies performed by a single orchestra and conductor, mark both the orchestra and conductor Promenade - Various - Orchestral Fantasia (CD Primary.
Beethoven symphonies performed by several orchestras but with the same conductor, mark only the conductor as Primary. Beethoven symphonies performed by several orchestras and several conductors, mark Various Artists as Primary. Concertos performed by the same orchestra and conductor but featuring several soloists, mark the orchestra and the conductor as Primary.
A complete opera, mark the principal vocal soloists, the orchestra, and the conductor all as Primary. For example, for the opera Falstaff mark the principal baritone soloist, the orchestra, and the conductor as Primary.
For the opera Tosca, mark the principal soprano, tenor, and baritone soloists, along with the orchestra and the conductor as Primary. Primary Artists at The Track Level. All artists performing on a track must be marked as Primary. Do not enter Various Artists as an artist name at the track level. For example, if a track features:. An orchestra but a prominent solo appears during the track, mark the orchestra, the soloists, and the conductor all as Primary.
A choir accompanied by piano or orchestra, mark the choir, the accompanists or orchestra, and the conductor all as Primary. Only use Unknown Artist at the track level and with the Performer role. Do not mark Unknown Artist as Primary. Use of Composer Role.
At least one composer must be provided at the track level. When a complete work is present on the album or the entire album is from the same composer, list that composer at album level. Composer as Primary. Composers may never be marked as Primary unless they are also performing as the Soloist, Accompanist, or Conductor.
Composer for Ringtones. Ringtones of classical music must include the composer in the title. Standard nicknames for classical pieces are accepted. Album Formatting.
The album title must include the composers, followed by a colon, followed by the work titles, catalog numbers, or type of works such as Sonatas or Preludes. If an album has an exact release title, such as The Most Beloved Classical Masterworks, that title may be used. If an album is composed and performed entirely by the same artist, the composer does not need to be included in the album title.
Key Information. For information on accepted casing and spelling of keys, see Classical Keys. Classical Abbreviations.
For accepted abbreviations of classical works, see Standard Classical Abbreviations. Track Formatting. Track titles must be complete, correctly formatted, and consistent. If a track features a movement or selection from a larger work like a symphony or concerto, begin the track title with the name of the larger work. This applies even if a track contains a portion of a movement, selection, or excerpt.
If a work has an assigned catalog number, include the catalog number in the title. If a piece contains 21 or more movements or sections, use Arabic numerals in the form No. Use colons to separate the title of a work from the title of a movement or selection, for example:. Opera Formatting. The track title for a selection from an opera must be consistent and start with the name of the opera, followed by a colon, followed by the selection title.
For recordings of a complete opera, include act and scene information after the opera title but before the colon and selection title. One-act operas which are through-composed are excluded from this rule. If an album of opera selections includes character information for one title, the information must be included for all other titles. Classical Crossover Formatting. Track titles for Classical Crossover genre content can start with the selection, movement, or popular title of a work.
Major work titles and catalog numbers must still be included but may be presented at the end of the title within parentheses. Only use this relaxed formatting on classical-crossover albums. If grouping songs together as a work, such as a concerto or symphony, at least two songs must be included in the work.
Do not group incomplete selections from a larger piece of music together as a work. Recording Dates. Versions, Arrangements, and Transcriptions. If a work has been altered from the original composition, the instrumentation must be noted and the Arranger credited at the end of the title. For transcriptions which are commonly attributed to the transcriber, list the transcriber in the Composer role. This only applies to pieces which are generally attributed to the transcriber in common usage. For example, most Liszt transcriptions are commonly associated with Liszt rather than the original composer.
For these works, Liszt must be credited in the Composer role with original composer listed in the track title. Overview Music is an emotional experience, and for many of us, an obsession.
Content Definitions Term Definition Album A collection of tracks Composer A composer writes music for instruments to play Content A song, album, music video, or ringtone DJ Mix An album containing multiple tracks overlaid or otherwise mixed together for continuous play. Genre Category of music Lyricist Lyricists only write lyrics Musical Any performance where the actors sing in character. Ringtone A standalone audio recording to be used as a ringtone for iPhone Score The instrumental music on a soundtrack.
Snippet Partial segments of songs that are meant to advertise the full-length content. Title The name of a song, album, music video, or ringtone as it appears on Apple Music and iTunes Title Version Used to differentiate from the original content title or to add information needed to identify the content.
Merged, consolidated, and updated rules. Renamed to Apple Music Style Guide. Combined Specialized Sections: 4. Soundtracks, Scores, and Albums in a Series see 2. Crediting Featuring Artists see 2. Presenting Artists see 2. Mixes and Remixes see 1. Capitalization, Abbreviations, Accents, and Characters see 3. Complete and Partial Albums see 1. Automatically Censored Word see 6. Snippets and Advertisement Tracks see 1.
Ringtones see 1. Additional Standards and Guidelines for Classical Music see Hebrew Metadata Guidelines see 1. Arabic and Farsi Metadata Guidelines see 1. Jazz Metadata Guidelines see 2. General The most critical guidelines to consider when preparing your content for delivery are:. Editorial Hides Unlike tickets, editorial hides cannot be fixed by a redelivery or metadata update. Naming Conventions and Rules We must receive all artist names and credits for your music, audio, or music videos upon delivery.
Primary Artist Roles 2. Non-Primary Artist and Other Roles 2. Track Title feat. Artist Dearly Departed feat. General 3. Version Information 3. Album Title Dead Presidents, Vol. Kanye West [Remix] Alors on danse feat. Casing and Accents 3. Exceptions For Lowercase Words Always capitalize the first and last word in a title.
Primary Genre Indian Folk. Primary Genre Sufi. Primary Genre Ghazals. Original Release Dates 5. Parental Advisory 6. Gioachino Rossini has the second part of the William Tell Overture, appropriately labelled the "Storm" segment. The familiar portion with the full orchestra is probably the scariest of all. Saint-Saens' "Danse Macabre" isn't exactly balmy, particularly the opening.
You are forgiven in advance for jumping out of your seat 19 seconds in. Arnold Schoenberg: "Pierrot Lunaire". There had been lots of scary music made before Schoenberg, but he was the first person to make music creepy. In fact, he's been so imitated by modern composers including on numerous horror film scores that it can sound a bit Dated. It's even worse after you watch the torture scene it's played during. The son refuses and begs his father to save him. The song got its nickname thanks to urban legends which are now thought to have been spawned by Holiday's record label, as the Promenade - Various - Orchestral Fantasia (CD Hungarian version was said to have inspired the suicides of anyone who heard it, and indeed Seress took his own life in However, Holiday's version added a third verse which modulates to a major feel and suggests that the previous verses were merely a fleeting dream.
Still, the final lines - "Darling, I hope that my dream never haunted you My heart is telling you how much I wanted you" - leave many disturbingly unanswered questions. Dmitri Shostakovich : "String Quartet, No. For real nightmare trips, plays his last two string quartets - especially No. Symphony No. But it kicks into full Nightmare gear in the second half, starting with the agitated strings and percussion. That builds up until it gives way to a relentless percussion cadence, which in turns alternates with violent outbursts from the rest of the orchestra.
The music gives the impression of an unfeeling, unstoppable juggernaut destroying everything in its path. Back in audiences weren't used to such threatening sounding introduction to a ballet. Of course, "The Rite Of Spring" has no happy subject to begin with: a ritual sacrifice of a young virgin in prehistoric Russia! The entire piece sounds brutal, primitive, loud and has a scary feeling to it. Especially first time listeners will almost certainly be unnerved.
No wonder that a riot broke loose during its premiere in ! The Promenade - Various - Orchestral Fantasia (CD act "Introduction" and "Mysterious Circles Of The Young Girls" sounds even more threatening, because it remains so hauntingly calm and quiet for quite some minutes. After the earth shattering noise of the first act this comes across as being silence before the storm. You think that's a nightmare? You can hardly stay calm during the final movement, La danse sacralewhether it's accompanied by the composer, an actual ballet performanceor any kind of musical score.
And if that wasn't disturbing enough, check out Pina Bausch's choreography. Very unnerving. YMMV on that, as it was meant to sound delicately sweet and heavenly, but it does so in a peculiarly Russian way. There is a version on glass harmonica Tchaikovsky's original choice that might be even more unnerving. So hauntingly creepy that Walt Disney used it for his movie Sleeping Beauty in the scene where Princess Aurora is hypnotized by the Witch to go and prick her finger on the spinning wheel.
Scott Walker : Many of his later releases, with the most horrific being 's The Driftwhich is less about music than it is the aural equivalent of a train ride through Hell. A lot of Alexander Scriabin's late pieces are mysterious and spooky, but his Sixth and Ninth Piano Sonatas jump into creepy territory.
The composer reportedly refused to play the sixth in public, fearing its darkness. However, Berg's music was always highly emotionally charged, and the result of that combined with nightmarishness truly comes forth in his Three Orchestral Pieces.
The last movement especially is terrifying in its madness. Based off of a quote from Psalm of The Biblethis piece is haunting and unsettling, from the chimes to the low pianos to the loud trumpets and drumbeats that sound exactly a tempest of God's fury and the Israelites' tortured weeping.
The vast majority of Steve Reich's music is Sweet Dreams Fuelbut there are a few notable exceptions. The work is split into three movements, with the first, titled "Before the War", being a light, upbeat nostalgic piece featuring Reich's governess and a former porter reminiscing about the trains, featuring an American steam whistle that is very deliberately pitched to sound bright and happy.
The next, titled "During the War", is a darker, more stark piece about the suffering of Jewish people in Europe under the Nazis. The second movement uses the sound of European steam whistles, which double as air-raid sirens, and they sound absolutely terrifying. The third, "After the War" is a somber reflection on Reich's own nostalgia and on the people who fled Europe during and after the war, riding the same trains Reich rode.
The piece utilises snippets of interviews Reich conducted to develop melodies, which are played in time with the music. This makes the music both an ear worm and places it in the Uncanny Valleygiving it a very eerie feeling. Lemon Demon : " Elsewhere. They conjure images of evil clowns. Is it any wonder that the same artist composed a track called "Nightmare Fuel"? Once you're done with that, find the Lemon Demon song "Sick Puppy," which is in the same vein but not quite as shiver-inducing.
It's the old dope peddler. The Serial Escalation of "Who's Next? It's all well and good, a little creepy, until you get to the end and realize that three teenage boys while admittedly horrible dudes, but still If you listen to it on a good system, you'll notice that there are bass notes that are more felt than heard.
Now try this home alone in a rural location with a storm approaching. It details a conversation between a rural serial killer and his mother, in which he confesses his crimes. One memorable line runs. Bad enough, but the final line is the kicker in which it is revealed that he has already killed his mother and has been talking to her corpse.
Hank Williams III: A rare example in country music: the double album Straight To Hellcontaining a minute long end track that consists of a hellish pastiche of distorted sounds, ranging from pitch-shifted country songs to field recordings.
Interspersed throughout, however, are some rather nice if a bit "off" songs that detracts from the "WTF factor". Those Poor Bastards: They perform pitch-black horror-themed country with the fervor of fundamentalist backwoods preachers. And their cover of Johnny Cash's "Walk the Line" is a terrifying ode to stalkerism. Hank Snow's obscure song "The Name of the Game Was Love" probably wasn't intended to be thisbut reading between the lyrics reveals far more sinister connotations.
In theory, the song is a happy, nostalgic reminiscence of all the girls the narrator has been romantically involved with in his life, with an absolute earworm of a tune and the first verse even sounding similar to the children's nursery rhyme "Five Little Speckled Frogs".
Except that list of girls is insanely long, which makes it extremely likely that the narrator is a Casanova who goes out of his way to win the hearts of as many girls as he possibly can before abandoning them and moving on. While the song goes out with the narrator saying he loves them all, it's difficult not to question his sincerity. This goes a step further in the extended cut, culminating in Careful with That Axe.
Weird lyrics, and then this robotic voice talking about the noise, and this dissonance, and this constant beat It's beautiful, though. Angelspit : "Sleep Now. Emotionless, like he knows and doesn't care, because he's given up already. Near the end is a nuclear blast that halts the song, with winds heard as the band is presumably obliterated. Some copies of the song have a cover and poster of a nuclear explosion.
Assemblage "30kft". Autechre : Confield is unsettling in a very cold and mechanical way. The songs were produced using generative computer algorithm rather than human performer-based sequencing, which The Berzerker: One notable example would be "Burnt".
The scariest part of the song would have to be the midway point, where a man lists a number of torture methods accompanied by incredibly twisted industrial sounds. Not only that, but later in the song, the man's monologue is played again, in case you didn't hear him the first time. The intro is mainly the squelching of footsteps in mud and some very primitive-sounding drums.
The music video is essentially a tableau of primitive figures with spears superimposed on Bjork's face. Then about halfway through the video Don't say no to me, you can't say no to me I'm crying now, but nobody's there The air is scanty, my voice is decreasing My mind is confused I'm knocking on the coffin.
Lullabyes for dead children, incestuous love, silver daggers, unrequited love, senseless or all-too-sensible murder, graveyards, encounters with Death, crazy women wandering the hills, people frozen in various stages of grief Soundtrack remixes must not include the movie title if the track is not from the original soundtrack.
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Compilations featuring both nonclassical songs as well as standard classical works which are marketed toward a nonclassical audience. Classical and Classical crossover genres must not be used for albums that fall outside of the Western art music tradition, including new age, soundtracks, folk, meditation, and so on.
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