Music to Haunt By: House of Nightmares

Buzz Works

Official Site
House of Nightmares, Monolith Graphics 2010

While browsing through the ol’ Google Analytics, the sheer number of people who read the Nox Arcana and Buzz Works installments of “Music to Haunt By” after searching for “House of Nightmares” convinced me that I simply had to review Buzz Works’ newest release.

Given how the above links already give the origins of Buzz Works and its Nox Arcana connection, let’s jump straight into the review. The titular track “House of Nightmares” opens with moaning, thunder and theremin-style wailing music. Tolling bells, a chanting male chorus and other sound effects add to the spooky feel created by the occasionally John Carpenter-esque music. Similarly, “Night Closes In” has something of a Carpenter feel to it. The pounding music gives one the sensation of time running out or being chased (perhaps that explains the moaning effects), while the contrasting music box-like chimes add to the sense of unease. I can easily see this track being used in a room setup involving a chase or perhaps even a haunted nursery. The moans that close it out also leads the listener into “Book of the Dead,” where moaning and male vocals creepily chant over heavy, pounding music. Haunters should find that this will greatly enhance the feel of a room containing a spooky-looking spellbook prop, especially if it’s played so low that it can only be heard when people approach the book. In fact, you can make it even scarier if you use a motion sensor that starts playing the music when people get close enough.

“Darkness Rising” features somewhat dreamy music that is soon overtaken by darker music and the sound of a beating heart. “Dead Time” appropriately begins with a clock ticking, then strings and pounding piano notes are combined with with wordless female vocals. The harpischord is used to great effect here, and it further adds to the sense of danger and the otherworldly. As an added bonus, this track’s length makes it ideal for looping. “The Ruins” starts off softly and then gradually builds up. The whispering and music definitely makes you feel like you’re in an ancient, haunted place. There’s a rain or fire effect that can be heard at points as well. I personally would have preferred it to not be used, but it doesn’t hurt the track. It’s just something to keep in mind if you want to use it for a haunted room or crypt scene. “The Forgotten Crypt” uses a steady deep note with alternating light, chime-like notes and pounding notes layered on top. The numerous scary sound effects are only icing on the cake. Despite the name, it can be used in many haunt scenes and the light touches could let it work in a haunted nursery scene.

The medium, pounding buildup of “Well of Souls” reminds me of a rock song starting, but the rest of the track is eerie rather than rocking. There’s also a feel of danger and movement felt amongst the pounding notes, which allow the track to be looped for use in more than just a scene involving a bottomless pit effect. “The Descent” has a light industrial feel to this, although the female vocals lend an unearthly feel to it. I think the prior track conveyed a sense of descent better, but this track would work wonders in a haunted factory or boiler room setting. “The Summoning” has a perfect spooky opening that just screams horror. Breathing and moans, followed by thunder, precede a spoken chant that summons the forces of darkness. The chant, presumably read by Joseph Vargo, can also be found in the CD’s enclosed booklet. Pounding music and heavy horns signal the coming of the “Ancient Evil” summoned by the previous track. Moans and the occasional burst of chanting add to the feel of a powerful being rushing into our world.

“The Black Abyss” has great eerie, otherworldly opening music and sounds, plus some monstrous groans and dripping. It’s perfect for looping in cave scenes and bottomless pit setups. “Shadow Dwellers” starts with soft, steady pounding notes with lighter material and creepy sounds layered on top. However, it then goes into heavier pounding music (including some guitar and harpischord work)and tolling bells. It is bound to evoke the image of something creeping around while on the prowl. The rock-style opening of “Bridge Between Worlds” does have an otherworldly feel thanks to its sound effects and interesting musical variations, but it might not be to everyone’s tastes. I can easily see this working in a vortex tunnel. Slow, pounding music and effects make “On the Prowl” live up to its name, wherein bursts of Halloween theme-style guitars alternate with heavy piano work.

“Devil’s Night” has pounding notes and noise that fall somewhere between tribal drums and an “industrial” sound. Naturally, these are paired with moaning chants and spooky sounds. The bells and female vocals play off each other especially well. The distorted chimes and heavy sound effects of “The Nether Realm” transport listener to another world filled with danger. The bubbling-like effects that pop up at times might seem odd, but could benefit some setups, such as a vortex tunnel leading to a room with lava effects. In “Hallow’s Eve,” effective organ work leads to a soft harpischord and even softer moans. But the moans increase and pounding notes join in soon, as do the bells. The pounding notes of “Unleashed” increase and decrease to create impression of something being freed and chasing someone (or something). Heavy piano notes are used occasionally, while moaning chants add to the bells and other effects. It could used in a variety of settings, but I think playing it can add an extra “oomph” to the final scene of a haunted attraction or put some additional excitement to a darkened hallway.

This CD has cemented my conviction that Buzz Works is not simply Nox Arcana working under another name. The musical presence of Jeff Hartz, both in terms of playing and writing abilities, are undeniable and set both this and Zombie Influx apart from the (also awesome) style of Nox Arcana. That said, Joseph Vargo does retain enough of that style so that Buzz Works albums will still appeal to the Nox Arcana fanbase.

House of Nightmares is a definite “must have” for both haunters and those who like to play scary music and effects while handing out candy on Halloween. Were it not for a few minor details in select tracks, I would say this would be the perfect CD for use in any haunt setup. That said, it is pretty darn close and it’s easy to program a CD or .mp3 player to skip over any tracks that don’t fit the mood you’re trying to create. I should also stress that these albums exist because their artists have set out to tell a story, not to make haunted house soundtrack CDs.

Special thanks to Monolith Graphics for the review copy!

Music to Haunt By: Buzz Works

Buzz Works

Official Site
Zombie Influx, Monolith Graphics 2009

If you read yesterday’s installment about Nox Arcana, you might remember how I teased about another new release of sorts from them. That’s due to their involvement with Buzz Works…

Buzz Works’ origins lie in an Ohio-based store of the same name that’s devoted to all kinds of spooky decor and merchandise. Although established in 1997, it wasn’t until relatively recent times that founder Jeff Hartz decided to start a music project under the same name. Teaming up with Joseph Vargo of Nox Arcana to fill out the group’s ranks, Zombie Influx was their first release in 2009.

Although William Piotrowski did handle the engineering duties, only Hartz and Vargo shared the songwriting and performing duties (while Hartz also wrote the dialogue and provided the vocals). This isn’t merely a Nox Arcana album under a different name, although there are some of their trademark touches in it. There are, however no bonus tracks or opening narration that are standard in Nox Arcana albums. As a special treat, the liner notes contain the text used in the broadcasts scattered throughout the disc and pictures of Rich Klink’s awesome zombie sculptures (which are also used on the disc art).

“Ground Zero” starts things off with a kinda dreamy synth opening, but its later tone, drums and a variety of sounds of zombies make this more of a nightmare. There are some lighter touches with little to no zombies, but track still creepy. The title of “Satellite Radiation” comes from the theorized cause of the dead rising in Night of the Living Dead and the use of beeping satellite noises that go in and out of the music (and other technological sounds) both reflects that and goes well with the drums and synthesizer work. In “Defcon Six,” a crackling broadcast tells of the raised danger level due to a virus and provides instructions on what to do. “Creeping Death” uses slow and creepy heavy synth work and other spooky touches to great effect. These include occasional female vocals, a vaguely tribal drums effect and a zombie groan. “Echoes of the Living” has lots of eerie synth work with lots of twists and turns, along with some light guitar and an almost bubbling-like sound. “Doomsday” is aptly named thanks to its heavy, pounding drums and bells. Light vocals and increasing piano use adds to the exciting, but hopeless, feel.

“The Feeding” opens with an odd horn effect, heavy synth open and other creepy touches (such as a heartbeat-like drum). I can imagine a few scattered zombies creeping out to a source of food, which in turn attracts more and more of the undead. Perhaps that’s why we hear machine guns at the end. “Warning Signs” is a short broadcast (with brief synth work) about the signs of infection. “The Dawn” is clearly a reference to Dawn of the Dead. The use of low zombie effects under synth work is very unnerving and somewhat otherworldly. “Dead Run” uses bells, pounding synth and fast, frantic piano work to create the effect of running in a panic. Light synth work and what seems to be thunder effects kick off “Post Mortem,” which are soon joined wailing vocals (or are they notes?) and a slow, soft guitar that eventually fades away before the zombie groans enter the picture. “The Panic Spreads” blares a short siren before a broadcast usual broadcast about the zombies overwhelming defense forces. The comparison to the gates of hell opening is definitely a reference to the tagline for Dawn of the Dead or possibly even a reference to the alternate title for this film.

Speaking of which, “Transmutation” uses light, but pounding, synth, bells, guitar and heavy piano work to create something that reminds me of Dawn of the Dead. to some degree (especially the drum effects). “The Pain of Dying” is also a reference, this time to a line from Return of the Living Dead. Light, dreamy music and some crackling gives way to slams wailing notes and scary synth work. The fast-paced percussion and bells that open for “Armageddon” helps build a sense of dread and hopelessness. Some organ and keyboard work give this an 80’s horror-style feel that only lets up to the sounds of jets soaring and bomb blasts. “Dead Life” uses strange, disturbing synth music and vocals that I can’t place (and which strange life forms to mind). I can see this track working in an alien-based scene as well as a zombie-based one. “Flesh Eaters” could refer to a wide variety of zombie movies, including the original title intended for Return of the Living Dead. A guitar and slow, low sirens blare as a hoard of zombies is heard. Said hoard is eventually overwhelm guitars and other musical touches for awhile. A snippet of the earlier news report on zombies plays later, as do odd synth effects that seem out of place to me. “Ravenous” mixes a fast piano with drums, electric guitar, synth hand claps, bells, harpsichord and samples from previous bulletins mixed in. The titular “Zombie Influx” uses creepy opening music and mournful strings with samples of a man talking about his dead wife and seeing things in the nearby woods. One part seems to imply that he’s the cause of this. News bulletin samples and what seem to be samples from Night of the Living Dead play us out over synth work.

A few minor quibbles over some of the sound effect choices aside, Zombie Influx is an amazing album that makes the listener feel like they’re inside an 80’s zombie epic. The majority of tracks are loop-friendly and the album played in its entirety will compliment any zombie-based setup. In fact, some people were so taken by it that they started a haunted house in Sweetwater, Tennessee based on it (and using it as a soundtrack) called “Defcon 6.” As for Buzz Works, they’ve recently unleashed their second album, House of Nightmares. If it’s anything like Zombie Influx, then we’re in for a treat.

Special thanks to Monolith Graphics for the review copy!

Music to Haunt By: Nox Arcana

Nox Arcana

Official Site
Blackthorn Asylum, Monolith Graphics 2009

For years, I had thought the Midnight Syndicate was the only group out there doing spooky ambient albums based around a single theme. So as you can imagine, I was pretty blown away with I stumbled across the Wikipedia entry for Nox Arcana. Elated by the idea of even more cool haunt music being out there, I immediately started researching Nox Arcana.

Formed in Cleveland, Ohio by Joseph Vargo, the name “Nox Arcana” is Latin for “mysteries of the night.” Since 2003, the famed horror artist and his bandmate William Piotrowski have been cranking out albums devoted to everything from horror authors to ghost pirates.

Given that Mr. Vargo used to be a part of the Midnight Syndicate, it might be tempting for some to label Nox Arcana as a Midnight Syndicate clone. However, that is just not the case. If you go read my history of the band, you’ll find that Vargo was huge part of the reason the Syndicate adopted that style (so Nox Arcana is merely doing more of the kind of music he’s always been doing). Besides, Nox Arcana includes lots of extra bonuses with their albums, such as opening narration, bonus tracks and lengthy liner notes filled with details to help draw draw listeners further into the world the album’s music has located. They’re often filled with puzzles and injokes, too. How can you not love a group that would name a song after an obscurity like this?

Blackthorn Asylum is not merely a trip through a haunted asylum, as certain tracks and the liner notes (designed to look like a journal) reveal that an experiment that should be familiar to readers of this story by H.P. Lovecraft. Medical diagrams and coded messages can also be found in the liner notes. I won’t spoil anything by telling you what I’ve found, but let’s just say the answers will surely delight any horror fan.

“Legacy of Darkness” starts things off with rolling thunder followed by a combination of synth work, piano, pipe organ and a variety of sound effects. After the laughing, moans and screams, a crackling recording (voiced by Joesph Vargo) discusses the nature of insanity and hints at the secrets of the asylum. The title track “Blackthorn Asylum” is very scary and good for just about any scare scene or haunt. This thanks to its moody piano, chanting vocals, and synth work that alternates between medium and heavy in terms of volume and feel. The vocals, piano and synth work of “Sanitarium Gates” are relatively softer than they were on the previous track, but are still just as effective. The tolling bells are a great touch.

“Abandoned” uses soft piano notes and foreboding synthesizer work to evoke the feeling of loneliness. The wordless female vocals (by guest vocalist Christine Filipak) go well with the violins and chanting male vocals (the Gregorian Shadow Choir) and add to the sense of unease (with a touch of danger). “Threshold of Madness” has a wonderfully pounding, 80’s horror movie feel to it. Soft speedy piano work is soon dominated by pounding drums, male chanting, organ work and bells. Eerie use of a harpsichord in “Tapestry of Decay” gives the track a suitably ancient feel, with female vocals, light bells and synth notes coming in at times. Male vocals later join in for a spell and add to the sense of dread. “Hidden Horrors” effectively uses heavy synth work, an evil laugh and male chanting, followed by female vocals. The very chilling bursts of chanting and organ work in this are strengthened by low whispering and more laughter. It’s perfect to use in a part of your haunt where you want to keep visitors guessing about then something will come after them. “When Darkness Falls” couples light piano work, female vocals and soft (but somehow heavy) synth work. The plunking of keys seems like shadows growing, and the later use of bells and a violin add to the mood.

“Shock Treatment” is a soundscape that runs less than a minute in length. Thankfully, its use of pulsing, electrical shocks and screams are great for continuous looping without sounding odd. This is ideal for use with scenes based around electric chairs or shock treatment. “Fractured Memories” uses light piano work with some heavy touches, aided by synth notes, bells and vocals. “Phantasmagoria” gets the heart racing with pounding percussion, the sound of thunder and loud chanting in a language I can’t make out (presumably Latin). Thunder and rain signal the coming of the “Creeper,” whose evil laugh is often heard throughout the track. Low violins and bells make up most of the track, with moaning male chants enhanced by lone female vocals. A light, slow piano gets “Sanity Slipping” going and are later joined by more chanting, bells and the occasional use of a music box-like effect.

“Dementia 13,”named after the horror movie of the same title uses pounding notes and soft wails to get things going. Great piano work is eventually joined by bells, chanting and wild violins that add a sense of madness to the menace. The combination of piano and violins give “Solitary Confinement” a mournful feel, aided by bells and light male chanting in background. “Frenzy” lives up to its name thanks to its fast, heavy piano and bells. Vocals of both sexes also add to the effect. “The Condemned” uses pounding, heavy drums and chanting, along with a “Toccata and Fugue in D Minor”-style organ work. I love the musical “slamming” effect in this. “Spiders in the Attic” uses eerie synth (or is it violins) and a new type of wordless female wails along with piano, bells and the sort of chanting we’re used to. Its spooky sound and long length make it great for any haunted attic or basement.

“From Beyond” is another short soundscape, where pulsing and buzzing summon up something that growls, laughs evilly and speaks backwards. “Essence of Evil” uses bells and heavy synth work, along with a piano and male chanting in Latin to live up to its name. The drums and female chants that join in later are extremely effective. “Fade to Black” opens with a Halloween-style piano open with bells and heavy synth, along with chanting and a gong near the end. Or is it? A period of silence reveals moody synth work and breathing, followed by a crackling recording about the dangerous mutated inmates in basement. Sinister laughter takes us to another brief silence, followed by the resonator sound effects, moaning, and the backwards-talking demon.

Despite the name, the music of Blackthorn Asylum can work with haunted attractions or yard setups of many other themes besides asylums (minus most of the soundscapes, of course). The majority of the tracks are well suited for looping and for playing while distributing candy come Halloween. I’m not the only one to notice the greatness of William Piotrowski and Joseph Vargo’s music. Big-name theme parks have used their work, as have the Travel Channel and a special showing of Nosferatu. As of this writing, Nox Arcana have recently released Theater of Illusion and have contributed to another project I’ll be discussing tomorrow…

Special thanks to Monolith Graphics for the review copy!