Nightmare Fuel / Blur

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• "Peach", one of "For Tomorrow"'s b-sides, has a gentle, melodic, folksy instrumental... accompanied with some pretty gruesome lyrics like "you've got a gaping hole in your head", and other imagery like "a gun in your pocket / and hair in a locket" seeming to depict someone about to eat their gun. The broken record-like effect at the end of the song brings it to a suitably-chilling close.
• "I'm Just a Killer for Your Love" is a pretty disturbing song. It is also really cool-sounding.
• The cover art of 13. WTF, Graham?
• "Essex Dogs" is full of unsettling noises. Also, it's the one with a Last Note Nightmare.
• "Intermission" from Modern Life Is Rubbish. It begins innocently enough with a simple piano riff. Then the guitars. Then the drums. And you don't notice it's getting faster and faster until it's too late and becomes a cacophony of guitar feedback and drum hits...and just when you think it can't get any more frantic, it keeps going and going before ringing out, playing the piano riff again, and abruptly stopping on a burst of guitar noise.
  • Used to fantastic tense effect in Baby Driver.
• The music video for "Good Song", mainly due to the fact that it's Surreal Horror that might as well come out of a David Lynch product. It starts off simple with a fairy wanting admiration and love and falls in love a squirrel. Weird but cute. But then it goes bizarre when the squirrel confuses his head for a nut during an imaginary sequence and eats the poor guy's head!. While the squirrel is obviously devastated and heartbroken, she (or he) is then murdered by random wasps and fairies for no actual reason at all! Not helped the second half of the video focuses on the squirrel's dead corpse and makes the random ending of a man playing with a leaf blower more like a break in the mood but still.
• While not a particularly dark album (at least sonically), The Great Escape features a harsher sound expanding on the new wave elements from Parklife, and some of the tracks veer into this territory; "Fade Away" has walls of discordant brass and an ominous organ-line, bordering on Creepy Circus Music; "Entertain Me" has screeching guitars and a distorienting, stark atmosphere, and "He Thought Of Cars" is a bleak tune that constantly switches between a lonely, spacey acoustic ballad and lurching art rock.
• Parts of the self-titled qualify - the album saw Blur going down a more experimental path, and while there's still some lighter-hearted songs like "M.O.R" or "Look Inside America", there's also the hazy, off-balance "Theme from Retro", the dark trip hop of "Death of a Party", and the aforementioned "I'm Just A Killer For Your Love" and "Essex Dogs".
  • Also worth noting is "Movin' On"s Last Note Nightmare, where the song descends into chaos with dissonant synths over a repeated, dizzy-sounding riff, not so much ending as much as it just dies out.
• What can be said about the self-titled applies tenfold to 13, which saw the band shift towards an even darker, more experimental sound. Notably there's the screeching guitar walls present on "1992", the helpless atmosphere of "Battle" (particularly as it nears its end), and the general darkness and intensity of tracks like "Caramel" and "Trimm Trabb".
  • Also of note is "Bugman", a dizzying punk track with cryptic lyrics and guitars so heavily distorted they sound like vacuum cleaners. Plus there's the transition into the coda, where the song is slowly overtaken by weird static noise.
• "The Heights" is, for the most part, actually really pretty... until the last minute or so, where the song is overtaken by harsh noise (imagine white noise overlaid with a swarm of bees and dissonant droning brass) before cutting to silence.

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