History NightmareFuel / TheResidents

* The album cover of "Duck Stab" features someone sticking a knife inside a duck while showing a SlasherSmile towards the camera.

A lot of music by Music/TheResidents counts as NightmareFuel.

* There is something rather odd with ''Loser ≅ Weed''. It seems as if its tempo is constantly wavering while a disorienting piano plays a repetitive melody on a seemingly endless loop. There's also a weird part where the song just stops, leaving the listeners with nothing but minimal electronic ambience, [[JumpScare only for the song to suddenly jump back to life]]. And that is without mentioning the WordSaladLyrics. It's a whole lot of, "WhatDoYouMeanItWasntMadeOnDrugs" potential.

* The album contains forty [[TheCoverChangesTheMeaning disturbing cover]] versions of Top 40 songs from the 1960s. Among many bizarre warpings, the bitter break-up garage-pop standard "Hey Little Girl" becomes a genuinely chilling piece with a mocking, ominous vocal and grimly march-like music which features plenty of ominous buzzing, droning and rumbling noises in the background (power tools? Brrr...). It must have been a very bitter breakup, indeed.

* The album contains forty [[TheCoverChangesTheMeaning disturbing cover]] versions of Top 40 songs from the 1960s. Among many bizarre warpings, the bitter break-up garage-pop standard "Hey Little Girl" becomes a genuinely chilling piece with a mocking, serial killer-like vocal and grimly march-like music which features plenty of ominous buzzing, droning and rumbling noises in the background (power tools? Brrr...). It must have been a very bitter breakup, indeed.

** "The Talk of Creatures" is probably the epitome of NothingIsScarier on this album. Minimalist instrumentation, [[DissonantSerenity Hardy's slow, serial killer-like voice]], and those weird, ambiguous lyrics.

* The LastNoteNightmare that ends "Elvis and His Boss", where the already squawky instruments go off the rails, pitch shifting to near inaudible levels and distorting heavily. By the end of the song, it's practically nothing but pure white noise.

* The album contains forty [[TheCoverChangesTheMeaning disturbing cover]] versions of Top 40 songs from the 1960s. Among many bizarre warpings, the bitter-breakup garage-pop standard "Hey Little Girl" becomes a genuinely chilling piece with a mocking, serial killer-like vocal and grimly march-like music which features plenty of ominous buzzing, droning and rumbling noises in the background (powertools? Brrr...). It must have been a very bitter breakup, indeed.
** After "A Double Shot Of My Baby's Love" the music just stops and you suddenly hear a car crashing, guns shooting, a baby crying and an air-raid siren.
** The cover of "Yummy Yummy Yummy (I Have Love In My Tummy)" also sounds disturbing during the second half.

* The album contains forty [[TheCoverChangesTheMeaning disturbing cover]] versions of top forty songs from the 1960s. Among many bizarre warpings, the bitter-breakup garage-pop standard "Hey Little Girl" becomes a genuinely chilling piece with a mocking, serial killer-like vocal and grimly march-like music which features plenty of ominous buzzing, droning and rumbling noises in the background (powertools? Brrr...). It must have been a very bitter breakup, indeed.

A lot of music by Music/TheResidents count as NightmareFuel.

* The promotional video for "Hello Skinny" mainly centers around images of a disturbed-looking, emaciated man with dark circles around his eyes, who is presumably meant to be portraying "Skinny" himself. The backstory to the video is both creepy and a little sad: The man was a mental patient who was released due to hospital budget cuts, who the group met and asked to be in their video. Certain shots had to be rushed because he had a mental breakdown on set. They never learned his real name - since he thought he was Creator/BrigitteBardot, they just called him Brigitte. After completing the video, he took a bus home and was never heard from again.

* This album often has haunting images, but at least all the songs are below the one minute mark.

** "The Talk of Creatures" is probably the epitome of NothingIsScarier on this album. Minimalist instrumentation, [[DissonantSerenity Hardy's slow, serial killer like voice]], and those weird, ambiguous lyrics.

** "Margaret Freeman" sports a creaky harmonica, half-tuned guitars, and loud, churning percussion; frightful enough in their own right. But then comes [[{{Music/XTC}} Andy Partridge]], sounding like a coked-up Music/DannyElfman as he sings about his crush and her AbusiveParents.

* The concept of ''Tunes of Two Cities'' is that all of its' songs represent the music of either the Chubs or the Moles (the two societies depicted in ''Mark of the Mole''): The songs designated as Mole songs can be pretty unnerving, since they usually revolve around harsh, mechanical rhythms, deliberately grating, high pitched tones, and occasional [[BlackSpeech chants performed in an unintelligible, deep voice]]. Even the Chub songs, which are primarily influenced by jazz and big band music, can be off-putting: rendering that musical style on 1980s-era synthesizers leads to a bit of an UncannyValley effect, which is added to by chords and rhythms that are deliberately "off", not to mention things like the air raid siren-like wailing on "Mousetrap".

* When not [[TearJerker beautiful and morose]], their album ''Animal Lover'' tends towards the [[https://www.youtube.com/watch?v=DLDf6Pqua6w&feature=relmfu seriously disturbing]].

* Their [[TheCoverChangesTheMeaning disturbing cover]] of "I Can't Get No Satisfaction", which mentions that the narrator [[AxeCrazy stabs and kicks]] whenever he can't get popcorn at the movies, among other things.

'''Duck Stab'''

** "Die In Terror" has a creepy title to start with. But the sound of those footsteps during the intro... (shudder)
** "The Act Of Being Polite" is also frightening. Especially when it implies the "something" the woman was wrapping up is an injury the speaker carelessly caused.
** "The Talk Of Creatures" is probably the epitome of NothingIsScarier on this album. Minimalist instrumentation, [[DissonantSerenity Hardy's slow, serial killer like voice]], and those weird, ambiguous lyrics.

** "Margaret Freeman" sports a creaky harmonica, half-tuned guitars, and loud, churning percussion; frightful enough in their own right. But then comes [[{{Music/XTC}} Andy Partridge,]] sounding like a coked-up Music/DannyElfman as he sings about his crush and her AbusiveParents.

'''Tunes Of Two Cities'''
* The concept of ''Tunes Of Two Cities'' is that all of its' songs represent the music of either the Chubs or the Moles (the two societies depicted in ''Mark Of The Mole''): The songs designated as Mole songs can be pretty unnerving, since they usually revolve around harsh, mechanical rhythms, deliberately grating, high pitched tones, and occasional [[BlackSpeech chants performed in an unintelligible, deep voice]]. Even the Chub songs, which are primarily influenced by jazz and big band music, can be off-putting: rendering that musical style on 1982-era synthesizers leads to a bit of an UncannyValley effect, which is added to by chords and rhythms that are deliberately "off", not to mention things like the air-raid-siren-like wailing on "Mousetrap".

'''God In Three Persons'''

* The entire final section of ''Baby Sex'', when not incredibly silly - hell, even when incredibly silly - is pure Nightmare Fuel for the uninitiated.

* There is something rather odd with ''Loser ≅ Weed''. It seems as if its tempo is constantly wavering while a disorienting piano plays a repetitive melody on a seemingly endless loop. There's also a weird part where the song just stops, leaving the listeners with nothing but minimal electronic ambience, [[JumpScare only for the song to jump back to life suddenly]]. And that is without mentioning the WordSaladLyrics. It's a whole lot of, "WhatDoYouMeanItWasntMadeOnDrugs" potential.

* The LastNoteNightmare that ends "Elvis and His Boss", where the already squawky instruments go off the rails, pitch shifting to near inaudible levels and distorting heavily. By the end of the song, its practically nothing but pure white noise.

* The LastNoteNightmare that ends "Elvis and his Boss", where the already squawky instruments go off the rails, pitch shifting to near inaudible levels and distorting heavily. By the end of the song, its practically nothing but pure white noise.