There’s always been something very annoying about the cult surrounding Che Guevara. Because his face looked good on a poster and his execution was probably carried out by the CIA, a lot of people have deified a shallow-minded rich kid whose main accomplishment was executing several of his fellow countrymen and then totally failing in his attempts to overthrow the government of Bolivia.
Thankfully, there’s a song that tells the truth. From Ola Fresca, here is El Chacal.
As the latest “Song of the Day,” Soundgarden’s Fell on Black Days stands out as one of Chris Cornell’s most hauntingly introspective songs. It captures that quiet terror of realizing, almost suddenly, that life has slipped into a dark space without a clear cause. The lyrics don’t dramatize depression or despair—they circle it, giving voice to numb reflection rather than clear tragedy. Cornell doesn’t sing from a place of theatrical pain but introspective confusion, which makes it all the more relatable: that sense of waking up one day and finding that something within has gone dim.
Cornell’s vocal performance is the emotional backbone of the song. His delivery is restrained at first, almost conversational, carrying that familiar mix of grit and vulnerability that made his voice so magnetic. As the song builds, the tension burns through his tone—he never screams, but you feel the anguish vibrating at the edges. It’s that ability to stay melodic while channeling raw feeling that separates him from many of his grunge-era peers. You can hear both power and exhaustion inhabiting the same breath.
Musically, Fell on Black Days moves with a slow, uneasy groove that fits the song’s mood of quiet dread. Instead of following a typical rock rhythm, it flows a little off-kilter, giving it that feeling of imbalance Cornell describes in the lyrics. The guitars are thick and moody but not overly heavy, letting the vocals breathe. Thayil’s riffing feels more like a shadow behind the melody, while the bass and drums give it a tired, rolling heartbeat. It’s less about flashy playing and more about atmosphere—a sound that matches the weight of realizing your life has turned darker without you noticing.
Fell on Black Days
Whatsoever I’ve feared has come to life
And whatsoever I’ve fought off became my life
Just when everyday seemed to greet me with a smile
Sunspots have faded and now I’m doing time
Now I’m doing time
‘Cause I fell on black days
I fell on black days
Whomsoever I’ve cured I’ve sickened now
And whomsoever I’ve cradled I’ve put you down
I’m a search light soul they say
But I can’t see it in the night
I’m only faking when I get it right
When I get it right
‘Cause I fell on black days
I fell on black days
How would I know
That this could be my fate
How would I know
That this could be my fate, uh yeah
What you wanted to see good has made you blind
And what you wanted to be yours has made it mine
So don’t you lock up something that you wanted to see fly
Hands are for shaking not tying
No, not tying
I sure don’t mind a change
I sure don’t mind a change
Yeah, I sure don’t mind
Sure don’t mind a change
I sure don’t mind a change
‘Cause I fell on black days
I fell on black days
How would I know
That this could be my fate
How would I know
That this could be my fate
How would I know
That this could be my fate
How would I know
That this could be my fate
I sure don’t mind a change
10 TO MIDNIGHT is probably Charles Bronson’s best film from the infamous Cannon Films. It’s a solid police procedural with a slasher twist. It also has a good soundtrack from Robert O. Ragland. When we meet the creepy killer Warren Stacy (Gene Davis) at the beginning of the film, “Look at Me” plays on the soundtrack as he checks himself out in the mirror and goes through the crime in his mind. On Charles Bronson’s 104th birthday, I’ve chosen this as my song of the day!
Here’s David Bowie with Changes!
Still don’t know what I was waiting for
And my time was running wild, a million dead-end streets and
Every time I thought I’d got it made
It seemed the taste was not so sweet
So I turned myself to face me
But I’ve never caught a glimpse
Of how the others must see the faker
I’m much too fast to take that test
Ch-ch-changes
(Turn and face the strain)
Ch-ch-changes
(Don’t want to be a richer man)
Ch-ch-changes
(Turn and face the strain)
Ch-ch-changes
(Just gonna have to be a different man)
Time may change me
But I can’t trace time
I watch the ripples change their size
But never leave the stream of warm impermanence and
So the days float through my eyes
But still the days seem the same
And these children that you spit on
As they try to change their worlds
Are immune to your consultations
They’re quite aware of what they’re going through
Ch-ch-changes
(Turn and face the strain)
Ch-ch-changes
(Don’t tell them to grow up and out of it)
Ch-ch-changes
(Turn and face the strain)
Ch-ch-changes
(Where’s your shame, you’ve left us up to our necks in it)
Time may change me
But you can’t trace time
Strange fascination, fascinating me
Ah changes are taking the pace I’m going through
Ch-ch-changes
(Turn and face the strain)
Ch-ch-changes
(Oh, look out you rock ‘n rollers)
Ch-ch-changes
(Turn and face the strain)
Ch-ch-changes
(Pretty soon now you’re gonna get older)
Time may change me
But I can’t trace time
I said that time may change me
But I can’t trace time
Songwriters: David Bowie
Let’s start of November with Tina Arena’s cover of To Sir, With Love. This is one of those cases where the cover version is actually superior to the original version.
Was there ever any doubt?
“Monster” by Irene & Seulgi (sub-unit of the K-pop girl group Red Velvet) dives into a dark and captivating space, blending eerie visuals with a sound that really sticks with you. The music video channels the vibe of classic sapphic vampire films, especially those atmospheric, haunting works by Jean Rollin. Irene takes on the role of a succubus-like figure, this hypnotic presence who seems to dominate Seulgi both visually and emotionally. Their movements, cold doll-like expressions, and the green light symbolizing possession all come together to paint a picture of seduction as a form of power struggle, where desire and control are beautifully intertwined.
Sonically, the song pushes boundaries with a mix of dark pop, industrial beats, and dubstep textures. The production is sharp, with synths that cut through like shadows and a bassline that grabs hold and won’t let go. Irene and Seulgi’s vocals glide between whispery softness and fierce intensity, capturing the delicate balance of temptation and danger that drives the song’s energy. The repetitive hook has a spell-like quality, reinforcing the feeling of being caught by this irresistible “monster.”
What really makes “Monster” stand out is how the song and video come together to create a seamless fusion of horror and sensuality. This isn’t just spooky imagery matched with a dark sound—it’s a fully immersive experience that captures the intoxicating mix of fear and desire. The supernatural themes of possession and seduction fit perfectly with the song’s hypnotic beats and evocative vocal delivery. “Monster” tells a story framed in shadows and light, a stylish journey where eroticism and horror enhance each other, pulling the listener deeper into its mesmerizing hold.
Monster
My move is unique
Not ordinary
1 2 5 to 7
I’m a dancer in the darkness
I’ll crack every joint in my body
And come close to your bed
I’ll horribly steal your heart
And dominate you
Under a single lighting, why are there two shadows?
I guess something else woke up inside me
I’m a little monster, be scared of me
I’m bothering you making you dream only about me
I’ll dance and play as I cast a spell
On your body in a nightmare
I’m a little monster
I’m a little monster
I rose from
The ashes in the cold ground
From dusk to dawn
I still exist
I don’t hate this madness
I’m having fun
You can’t get out
Don’t run away, you’ll get hurt
I save you and tease you again
Oh I’m perfect and messed up again
I’m a little monster, be scared of me
I’m bothering you making you dream only about me
I’ll dance and play as I cast a spell
On your body in a nightmare
I’m a little monster
I’m a little monster
See, I’m just playing
No bad intentions
I’m small but dangerous
Who would refuse me?
It’s time for the red sun to rise at dawn
Now that you are relieved
You try to come out of the dream
But monster lives forever
I’m a little monster, be scared of me
I’m bothering you making you dream only about me
I’ll dance and play as I cast a spell
On your body in a nightmare
I’m a little monster
I’m a little monster
I’m a little monster
From 1993’s The Nightmare Before Christmas, here’s the anthem of the season!
Today’s horror song of the day comes from the 1979 film, Beyond The Darkness.
This film’s soundtrack, courtesy of Goblin, was so acclaimed that it later turned up in several other Italian horror film, usually without anyone bothering to clear it with Goblin ahead of time.
Suspiria (1977, dir by Dario Argento, DP: Luciano Tovoli)
You knew this was coming!
Today’s horror song of the day is the classic main theme to Dario Argento’s Suspiria! (The Argento version is the only version that matters.) The iconic soundtrack was composed by Goblin. I saw an interview with Claudio Simonetti in which he said he wanted the song to be “almost annoying” in its intensity. While I could never be annoyed this song, I do understand Simonetti’s point. The score is designed to be as overwhelming as the evil at the center of the film.
All together now: “WITCH!”
Through the Shattered Lens 