BolderBeat's 'Get Your Creep On' Colorado Halloween Spotify Playlist

By: Joliene Adams

As an Introduction to Film Studies T.A. at CU Boulder for three years, I became no expert, but learned right quick and true: a film soundtrack, and to a much larger extent, a score, can make or break the terrifying in a horror film. So I moved to emulate that, best I could. Here you have what could or should be on a horror film soundtrack if it were Colorado-music exclusive. Make sure to follow us on Spotify and take a listen to these tunes at BolderBeat:

BolderBeat's 'Get Your Creep On' Playlist

1. Echo Beds, New Icons of a Vile Faith (2016), “Obvious Signs Of Forced Entry”

Genre: Suggestively invasive, disquieting fertile terror.

Staccato snare drums set this one off, and from there, I can’t place all the sounds of this track, but according to Echo Beds, I’m maybe not supposed to. As they themselves describe, “Echo Beds crafts a caterwaul of contact-mic'd oil drums, broken cymbals, battered basses, unrecognizable tape loops, and dilapidated voices.” It’s sound like art, completely, so listen and let this one creep into your distorted veins and “excorcise” its sound notes. It’s precisely that all the sounds can’t readily be placed, nor their arrangement readily recognized or described, which acts to unhinge the bolts on your comfort zone.

2. church fire, Pussy Blood (2016), “Midnight Sidewalks”

Genre: Alien abduction gone right (for the aliens).

“Midnight Sidewalks” starts you off nice and easy. As easy as slightly screeching metal on the ears. What happens next sounds like a battle between an alien ship's tractor beam shining down on you, and your attempt to fight it beaming you upward. But the tractor beam locks on at 00:26, a struggle ensues, and around 00:40 the UFO starts to win; 00:50 comes, and you’ve lost the battle. Once you’re on the ship, the vocals hit, and you chill into the groove safely, but as the melodies tick higher at the chorus, so do your nerves instinctually.

3. itchy-O, Burn the Navigator (2014), “Burn”

Genre: Fight or flight.

00:00-00:05 should be put in a stock horror film sound library, if it didn’t come from one. And since there’s nothing more calming than police sirens and medical equipment beeps, the 32-piece Denver-based percussion-centered electronic performance band itchy-O naturally included both. The percussive pacing races the song ahead, with a mix of blended elements. And the continual return to a combination of hand drums and hard driving guitar downstrokes, punctuated with unapologetic crashes on splash cymbals, will have you running or biking at more than your normal pace. But that’s a good thing, because you don’t want to burn in the fire that, it’s only fair to assume, the muffled static background voices are talking about. Of course this band has a Halloween Show booked at The Gothic Theatre! Get tickets here.

4. The Blue Rider, Year of the Horse (2016), “Nightmare”

Genre: Dracula Monster Mashing on a surfboard.

You could easily put this song right into a late 60s or early 70s horror film without too much question. This one doesn’t terrify me, but it’s oldie pop surf rock vibe mixed with the prospect of a nightmare from which you can’t wake up from have me, to my horror, dancing to a terrifying prospect. I blame the lyrics and the organ for the extremely catchy quality that found me in such a nefarious position.

5. Slim Cessna’s Auto Club, The Commandments According to SCAC (2016), “Commandment 3”

Genre: Suspiciously benign late 50s era-esque death pop.

“Commandment 3” is a lighter track musically that doesn’t disquiet like Echo Beds, Animal / Object, or Janet Feder quite do; it’s a fun ditty with lyrically dire consequences. There’s a “Love Potion No. 9” quality to this track, from the mix of it’s catchy melody, to the very serious subject matter and consequences of drinking a love potion & kissing a cop, to that of the acutely real difference between you catching the Queen Snake or the Queen Snake having caught you.

6. Animal / Object featuring HAALAND, Yule – Ogy (2016), “Little Drummer Boy”

Genre: Unpredictably sourced nonlinear chaotic noise.

There was a period of time at Guantanamo Bay when David Gray’s “Babylon” was put on loud and constant repeat as a form of torture. This seems like a particularly cruel form of torture. The original “Little Drummer Boy” on repeat would be my personal hell. But when it comes down to it, even your favorite song on repeat 24/7 becomes torture as equal and painful. What this song by Animal / Object does to really creep at you is not as heavily percussion-dependent as many others. It’s all strings. Not the whole song, but the part that gets you where it matters on Halloween.

7. Stella Luce, Zugenruhe (2009), “Monsters”

Genre: Murderous lullaby crooning creepstyle.

If Bjork and Joanna Newsom have an illegitimate child out there that we do not know about, Stella Luce is her. She might live in a beautiful, albeit potentially haunted music box. When she sings in the shower, I imagine it in all minor chords, which tend to stimulate greater feelings of tension or apprehension. From the sliding up the xylophone scale the starts it off, to the plucking strings that come in, the sounds reminiscent of record player static with drums in no hurry, and a Bjork-Newsom voice, the lyrics of this one seal the deal of songs about monsters we’ve told our children forever. Brothers Grimm, anyone? I can’t believe we called those “fairy tales” and read them to children…

8. Jane Rigler and Janet Feder, Rarefactions (2015), “Quiver”

Genre: Ambient jungle terror.

Pan flutes make a quiver effect, and an intermittent reminiscence of Spanish-style guitar suggest a regional, cultural musical theme and influence on “Quiver”. It skits and scatters and slithers around your ankles, and mostly, you definitely wouldn’t want to be walking alone in the jungle listening to this tonight, unless you like being that much more freaked out… especially if you’ve ingested Ayahuasca first…

9. Snake Rattle Rattle Snake, Totem (2014), “Bad Magic”

Genre: House of mirrors B movie camp-glam.

In “Bad Magic”, subtle percussive underlayers usher you into that haunted house in a film scene where you go inside, get lost in a hall of mirrors, and sense Mike Myers may be in possible pursuit (from Halloween, not Austin Powers). It doesn’t sounds like the infamous score or soundtrack from Halloween, but it does sound like something people in a film would look cool dying to. If that’s too weird, too bad. It’s Halloween.

10. Colfax Speed Queen, Satisfaction Intended (2013), “Skeleton Man”

Genre: Rock'n’roll into the grave.

This tune plunges straight into vocals. “Bag of bones!” guitar riffs punctuated with exclamatives from the organ make this song comparatively friendly and funky. And let’s be honest, a skeleton was always the least scary of the scary-costume genre. But then you realize here “he’s gonna kill himself,” and Skeleton Man isn’t really dead yet, which is why he terrifies us. Because if he doesn’t change his story, he might show up right here, right now.

11. Native Daughters, War Elephant (2012), “War Elephant”

Genre: Horror western languid death march rock.

It’s the fact that I think the narrator is dead by the time we get this musical missive that unsettles me most. His narrations are presented as happening in a nightmare: “And then I woke up,” his husky voice tells. The musical narrative that ensues then takes us where the dream wouldn’t have if he’d stayed asleep. The horn serenades like a march to meet fate with the man, creature, spirit; whatever it/he/she may be. Which never ends well. Enjoy the discomfiting solitude of lamenting guitar strokes and bass chords knowing you’re on a journey in the dark toward an even greater darkness.

12. Qbala, Battle Cries (2015), “So Alone”

Genre: Reality based lyrical fear hop.

This one represents fundamental questions and anxieties that will stick with you long after Halloween. The fears of the day-to-day: “At an all time low… When you fail you must continue to begin, within the walls of desperation and hesitation...  is it all in my head? Or is it in the mirror?”  The honesty, lyricism, and frequently minimalist style of this track are almost chilling, and the fear of who you maybe haven’t become feels real. Same with what’s held you back. It shows the earnestness it takes to do you. The time is now.

13. Rubedo, Love is the Answer (2015), “Psychic Tune”

Genre: Teddy Ruxpin death rattle.

You’re a child. You have a doll or stuffed animal that talks when you pull a cord or push a button or squeeze its plush palm. And then the batteries start to die, the voice slows, and it terrifies the dickens out of you. The deliberate vocal torpor in this song brings those vibes, and makes even understanding the lyrics, in a seeming contradiction, at times more challenging. Equally slow, loose acoustic guitar strokes sit behind nearly-spoken backup vocals with drum hits you could almost call lazy, but not in the derogatory sense, make this song the one you might like to go to bed or wake to the morning after your many Halloween rousings.

Happy Halloween. Follow BolderBeat on Spotify for more Colorado music playlists. 

-Joliene

All tracks per the artists featured. This feature was edited for brevity and clarity by BolderBeat.

Uncle Acid & The Deadbeats Creeped Their Way Into My Heart

By: Sierra Voss

Uncle Acid & The Deadbeats recent Gothic Theatre show was creepy, but epic.

Self-described as “crime wave”, Uncle Acid & The Deadbeats are a four-piece rock band that hail from Cambridge, England. They have four releases under their belt, and are currently on an international tour for their latest album, Night Creeper. Last week, they made a stop in Denver at the Gothic, and transported us into a world of creative expression:

Kevin (K.R.) Starrs.

Kevin (K.R.) Starrs.

There are those who headbang, and then there is Kevin (K.R.) Starrs, frontman and guitarist of Uncle Acid & The Deadbeats. Kevin walked on stage with a finger up to his lips, requesting the audience to remain silent as the band began their first song. From that point on you basically never saw Kevin’s face again, as it was continuously blanked by his hair. I stood watching Kevin in awe, as he gracefully thrashed about the stage while annihilating one guitar solo after another. He transcended the normal conception of headbanging. Now stay with me here as I get a bit deep with my analyzation of his activity. Your average headbanger will simply violently shake and whip their head in time with the beat of a song, but Kevin? Kevin’s different. He headbangs on off-beats, almost as if to punctuate a pause in the sound. His headbanging seemed more influenced by guitar lines, lyrical lines, and emotional undertones of songs than the actual beat. Never in my life would I have thought I would use the words stunning and dynamic to describe someone’s headbanging, but here I am.

Kevin’s whole performance was pretty mesmerizing. Every now and then, you could catch him twitching his head to the right. I couldn’t see his face due to the hair blanket, but I felt like he was almost biting at the air around him, or jolting to snarl at someone. It was super creepy and eerie. The band also kept from directly interacting with the audience for most of the show. The entire set felt like we were watching a scene from an old film noir or classic horror story. In the past, Starrs has stated in numerous interviews that he pulls most of the band’s artistic influence and vibes from his favorite old films.

Vaughn Stokes.

Vaughn Stokes.

Still need convincing on the eerie vibes of a Uncle Acid & The Deadbeats show? Simply read through the lyrics of one of their albums. Every song feels like a glimpse into a horror scene:

“Paranoid city at night
Shadows from under street light
People in fear day by day
NIGHT CREEPER crawling away”

-"The Night Creeper"

Yotam Rubinger.

Yotam Rubinger.

Right before the band left the stage for their encore, they played their tune "Slow Death". It was no doubt the most epic song performed all night. Kevin and Yotam Rubinger’s guitar lines and harmonies together were chillingly dynamic and beautiful. This band's ability to create such strong harmonies between the lead guitar and rhythm guitar is one of their most defining traits.

Starrs.

Starrs.

Overall, this show was f*cking rad. Uncle Acid & The Deadbeats truly created a world of their own, and I would go so far as to say that their set was by far my favorite rock show of 2016.

Catch this band on tour! Oh, and don’t make the same mistake as I did by not buying some of their sweet merch with graphics that encapsulate the creepy, raw vibe of their live shows and music.

Check out my favorite Uncle Acid & The Deadbeats song, “Melody Lane”:

-Sierra

All photos per the author. This feature was edited for brevity and clarity by BolderBeat.