Speaking of The Wall, while the entire album is creepy, two tracks stand out. Most of "Don't Leave Me Now" sounds extremely disturbing, and the beginning of "Is There Anybody Out There?" resembles something from a horror movie. Thank God it turns into a nice-sounding guitar melody.
"Goodbye Blue Sky". Particularly, the images seen in the music video. It starts with a soothing guitar riff, then the terror sets in. "D-D-D-DID YOU SEE THE FRIGHTENED ONES? D-D-D-DID YOU HEAR THE FALLING BOMBS?"
The metallic eagle grabbing a bit of ground that actually bleeds.
A warlord with glowing headlights for eyes that morphs into a factory of steel.
An army of bombers emerging from the towering structure.
The Union Jack (British flag) on a post becoming a blood-red cross.
The soldiers with skulls for heads.
Strange creatures wearing gas masks running for cover.
Anything else becoming a cross.
Blood trickling through a storm drain.
But in the town it was well known / when they got home at night / their fat and psychopathic wives would thrash them / within inches of their lives!
The meat grinder in "Another Brick in the Wall (Part 2)". They were getting ground up like Play-Doh.
You mean one of the animated parts that they took from The Trial?
Run Like Hell. "With your empty smile And your hungry heart Feel the bile rising from your guilty past With your nerves in tatters When the cockleshell shatters And the hammers batter Down the door You better run!"
The ethereal wailing sounds at around the 11-minute mark in Echoes.
The title track off of A Saucerful of Secrets up to the "Celestial Voices" movement.
The live disc of Ummagumma, which contains the aforementioned "Careful With That Axe, Eugene" and "A Saucerful Of Secrets", as well as unnerving versions of "Astronomy Domine" and "Set The Controls For The Heart Of The Sun".
"Come In Number 51, Your Time Is Up", the Zabriskie Point version of "Eugene", is even harsher and scarier.
"Sheep" may also qualify as this. Halfway into the song, there is very eerie Hammond organ, followed by a corrupted version of Psalm 23 which could give you nightmares:
"The Lord is my shepherd, I shall not want He makes me down to lie Through pastures green he leadeth me the silent waters by With bright knives he releaseth my soul He maketh me to hang on hooks in high places He converteth me to lamb cutlets For lo, he hath great power and great hunger When cometh the day we lowly ones Through quiet reflection and great dedication Master the art of karate Lo, we shall rise up And then we'll make the bugger's eyes water."
Barrett's last song to be on a Floyd album, "Jugband Blues" from Saucerful of Secrets, is a skin-crawling combination of Sanity Slippage Song, Tearjerker and bitter Et Tu, Brute? to the rest of the band. One of the eeriest things about it is the way it uses Non Sequitur as an organising principle. The opening lines seem to be a sarcasticTake That: "It's awfully considerate of you to think of me here / And I'm much obliged to you for making it clear that I'm not here." Then the song trips along in its part-cheerful, part-melancholy way for a while, one section lurching into another, until the band is drowned out by a parping brass band in a completely unrelated key, which in turn is replaced by just Barrett, strumming a guitar, sounding chillingly lonely, with the song cutting off abruptly on his very last word:
"And what exactly is a dream? And what exactly is a joke?"
"The Gnome", otherwise among the most lighthearted and silly of all their songs, has an eerie, somewhat Mood Whiplash-inducing bridge: The way an overly reverbed Syd Barrett whispers the completely benign lyrics "Look at the sky / look at the river / isn't it good?" makes them sound oddly ominous.
While the interlocking sounds of "Speak to Me" lie within the bounds of Paranoia Fuel, the segment transforms into pure Nightmare Fuel right at its end when a sample of Clare Torry's screams from "The Great Gig In the Sky" enters the mix.