History NightmareFuel / GodspeedYouBlackEmperor

** One of the variations of the album's cover (pictured above) is a definition of NothingIsScarier, as it features a black and white photograph of a blurred road sign standing still ominously (it's also used as the cover for the 1998 CD release).

[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/gsybefsharpasharpinfinity.jpg]]
[[caption-width-right:350:''[[MadnessMantra "Where are you going...? Where are you going...?"]]'']]

Yeah, listening to GYBE in the middle of the night or while trying to sleep is usually a bad idea.

** And it happens to be part of the inspiration for [[Wiki/SCPFoundation SCP]] [[http://www.scp-wiki.net/scp-1981 1981.]]

** "Providence" gives some horrific unsettling vibes, in particular the incredibly surreal and haunting nursery rhyme at the beginning of "Kicking Horse on Brokenhill" and the transition between "String Loop Manufactured During Downpour", which consists of a creepy repeating line sampled from the musical ''Theatre/{{Godspell}}''.
--> ''[[MadnessMantra "Where are you going...? Where are you going...?"]]''

** The opening to "Antennas to Heaven" may qualify for some with the jaunty LyricalDissonance of "Baby-O", particularly given how much it comes out of nowhere and how quickly everything goes back to normal afterwards.

** "Provenience" gives some horrific unsettling vibes, in particular the incredibly surreal and haunting nursery rhyme at the beginning of "Kicking Horse on Brokenhill" and the transition between "String Loop Manufactured During Downpour", which consists of a creepy repeating line.
--> ''[[MadnessMantra "Where we're going..? Where we're going...?"]]''

** It also doesn't help that Bush's speech was cut up to resemble things like "I am against tolerance." As if the man being in office for eight years wasn't terrifying enough on its own.

** "Sleep" is mostly more on the TearJerker side, but "Momheim" ends with a LastNoteNightmare of dissonant guitar feedback before some more dissonant chords are played and the chaos subsides a bit.

* ''Lift Your Skinny Fists'' is the band's brightest album as a whole, but the track "Static" deserves to be here. To hear a guy babbling on about seeing the face of God and dying over a beautiful, somber violin solo creates a SoundtrackDissonance that is quite disturbing. And then there's the second half of the track, "World Police and Friendly Fire / The Buildings They Are Sleeping Now," whose eeriness can't be easily described in words.

** The first track of the album, “The Dead Flag Blues” has the following monologue spoken in a sombre monotone, which, whether it is a DyingDream, drug-induced [[{{Hallucinations}} hallucination]], or an actual ApocalypticLog, is ''oppressingly'' dire:
-->The car is on fire, and there’s no driver at the wheel\\

And we’re on so many drugs\\

-->We’re trapped in the belly of this horrible machine\\

** The second song, “East Hastings”, was used extensively in the movie ''Film/TwentyEightDaysLater'', whose director claimed that he had the song in mind when making it. The end of the track, “Drugs in Tokyo/Black Helicopter”, is [[LastNoteNightmare particularly unsettling]].
* ''Lift Your Skinny Fists'' is the band’s brightest album as a whole, but the track “Static” deserves to be here. To hear a guy babbling on about seeing the face of God and dying over a beautiful, somber violin solo creates a SoundtrackDissonance that is quite disturbing. And then there's the second half of the track, “World Police and Friendly Fire/The Buildings They Are Sleeping Now”, whose eeriness can’t be easily described in words.

* “George Bush Cut Up While Talking” consists of a strange buzz-like noise, a high-pitched voice reciting “It is a predominant question: why am I here, and what can I do to make it better? How can I do what is right?” on a loop, and George Bush giving a speech, cut up into random excerpts punctuated by quick, short bursts of applause that sound like static. The combination is ''terrifying''.
** It also doesn’t help that Bush’s speech was cut up to resemble things like “I am against tolerance”. As if the man being in office for eight years wasn’t terrifying enough on its own.
** And it happens to be part of the inspiration for [[Wiki/SCPFoundation SCP]] [[http://www.scp-wiki.net/scp-1981 1981.]]

** It also happens to be part of the inspiration for [[Wiki/SCPFoundation SCP]] [[http://www.scp-wiki.net/scp-1981 1981.]]

** Listening to “George Bush Cut Up While Talking” will cause some to compare to [[Wiki/SCPFoundation SCP-1981]]...

** Listening to "George Bush Cut Up While Talking" will cause some to compare to [[Wiki/SCPFoundation SCP-1981]]...

** It also doesn’t help that Bush’s speech was cut up to resemble things like “I am against tolerance”. As if the man being in office for eight years wasn’t terrifying enough on its own.

** The first track of the album, "The Dead Flag Blues" has the following monologue spoken in a sombre monotone, which, whether it is a DyingDream, drug-induced [[{{Hallucinations}} hallucination]], or an actual ApocalypticLog, is ''oppressingly'' dire:

** That drone underneath said monologue is creepy in and of itself.
** The second song, "East Hastings", was used extensively in the movie ''Film/TwentyEightDaysLater'', whose director claimed that he had the song in mind when making it.
* ''Lift Your Skinny Fists'' is the band's brightest album as a whole, but the track "Static" deserves to be here. To hear a guy babbling on about seeing the face of God and dying over a beautiful, somber violin solo creates a SoundtrackDissonance that is quite disturbing. And then there's the second half of the track, "World Police and Friendly Fire/The Buildings They Are Sleeping Now", whose eeriness can't be easily described in words.

* "George Bush Cut Up While Talking" consists of a strange buzz-like noise, a high-pitched voice reciting "It is a predominant question: why am I here, and what can I do to make it better? How can I do what is right?" on a loop, and George Bush giving a speech, cut up into random excerpts punctuated by quick, short bursts of applause that sound like static. The combination is ''terrifying''.
** It also doesn't help that Bush's speech was cut up to resemble things like "I am against tolerance". As if the man being in office for eight years wasn't terrifying enough on its own.

* "George Bush Cut Up While Talking" consists of a strange buzz-like noise, a high-pitched voice reciting "It is a predominant question: why am I here, and what can I do to make it better? How can I do what is right?" on a loop, and George Bush giving a speech, cut up into random excerpts punctuated by quick, short bursts of applause that sound like static. The combination is ''terrifying''.

* Any time the guitarists start playing with screwdrivers, this trope is sure to ensue

* ''F sharp A sharp Infinity'', which is an album ruminating about the apocalypse.

* Any time the guitarists start playing with screwdrivers, this trope is sure to ensue

* ''F sharp A sharp Infinity'', which is an album ruminating about the apocalypse. The first track of the album, "The Dead Flag Blues" includes the lyrics "The car is on fire, and there's no driver at the wheel/And the sewers are all muddied with a thousand lonely suicides" spoken in a somber monotone.
** "We're trapped in the belly of this horrible machine/and the machine is bleeding to death"
** That drone underneath it all is creepy in and of itself.
* The second song, "East Hastings", was used extensively in the movie ''Film/TwentyEightDaysLater'', whose director claimed that he had the song in mind when making it.
* ''Lift Your Skinny Fists'' is the band's brightest album as a whole, but the track "Static" deserves to be here. To hear a guy babbling on about seeing the face of God and dying over a beautiful, somber violin solo creates a SoundtrackDissonance that is quite disturbing. And then there's the second half of the track, "World Police and Friendly Fire/The Buildings They Are Sleeping Now", whose eeriness can't be easily described in words.

* The second song, "East Hastings", was used extensively in the movie 28 Days Later, whose director claimed that he had the song in mind when making it.