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

* ''F♯ A♯ ∞'', which is an album ruminating about the apocalypse.
** 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 the sewers are all muddied with a thousand lonely suicides\\
And a dark wind blows

-->The government is corrupt\\
And we're on so many drugs\\
With the radio on and the curtains drawn

-->We're trapped in the belly of this horrible machine\\
And the machine is bleeding to death [...]

-->The buildings tumbled in on themselves\\
Mothers clutching babies\\
Picked through the rubble\\
And pulled out their hair

-->The skyline was beautiful on fire\\
All twisted metal stretching upwards\\
Everything washed in a thin orange haze...
** That [[DroneOfDread 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. The end of the track, "Drugs in Tokyo / Black Helicopter," is [[LastNoteNightmare particularly unsettling]].
** "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...?"]]''
* ''Lift Your Skinny Fists'' is the band's brightest album as a whole, but the track "Static" deserves to be here. To hear a woman 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.
** "Sleep" is mostly more on the TearJerker side, but "Monheim" ends with a LastNoteNightmare of dissonant guitar feedback before some more dissonant chords are played and the chaos subsides a bit.
** 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.
* Any time the guitarists start playing with screwdrivers, this trope is sure to ensue.
* "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." and something about "promoting emergency".
** And it happens to be part of the inspiration for [[Wiki/SCPFoundation SCP]] [[ 1981.]]
* "Mladic" is named after war criminal Ratko Mladić, and suffice it to say it has a suitably imposing build-up. Though by the time the song proper starts, most listeners will likely feel more like rocking out than cowering in a corner.
* "Lambs' Breath" is basically ten minutes of DroneOfDread, and "Asunder, Sweet" could be one of Music/NineInchNails' creepy interstitials.