Horror Song of the Day: Main Title Theme From Alien By Jerry Goldsmith


Today, the Shattered Lens wishes a happy birthday to the one and only Sigourney Weaver.  Seen here with Jonesy the Cat, Weaver will always be best-remembered for bringing to life Ellen Ripley and totally revolutionizing both horror and science fiction!

Today’s song of the day comes from Jerry Goldsmith’s iconic score for Alien.

Horror Song of the Day: Demon by Claudio Simonetti


Demons (1985, dir by Lamberto Bava)

For today’s horror song of the day, we have Demon, a track from the soundtrack for the 1985 film, Demons.  This song was composed and performed by Claudio Simonetti, who is best known as the keyboardist of Goblin.

The music video, incidentally, was directed by Michele Soavi, who also appeared in Demons as the mysterious masked man handing out free movie tickets.

Horror Song of The Day: Cat People (Putting Out Fire) by Giorgio Moroder and David Bowie


Today’s horror song comes the hypnotic soundtrack of Paul Schrader’s Cat People.  This song was so good that it later showed up and was used to equally strong effect in Quentin Tarantino’s Inglourious Basterds.

Horror Song of the Day: Threnody to the Victims of Hiroshima (by Krzysztof Penderecki)


Have you ever heard Penderecki’s Threnody to the Victims of Hiroshima? It’s definitely not your typical kind of music. When I first listened to it, I wasn’t really sure what was happening—it’s loud, chaotic, and incredibly intense. There’s no melody or rhythm that you can follow; instead, it feels like a massive wave of sound crashing over you, full of raw emotion and tension.

One of the things that makes it so striking is that Penderecki wrote it for 52 string instruments. Now, usually, when you think of that many strings playing together, you imagine something rich, smooth, and harmonious. But this is completely different. Those violins, violas, cellos, and basses don’t blend into a melody; instead, they create layers of dissonant sounds—like dozens of voices crying out all at once. It’s less about making “music” in the traditional sense and more about creating an intense atmosphere you can almost feel physically.


What’s really interesting is that Penderecki wasn’t initially trying to compose a tribute. The piece was simply titled 8 minutes and 37 seconds, just the length of the piece. But when he heard it performed, he realized something powerful was happening. The sound conveyed devastation and sorrow in a way words couldn’t. That’s when he dedicated it to the victims of Hiroshima, giving all that chaotic noise a heartbreaking context.

Listening to Threnody is like being caught in a storm made of sound. It opens with a blast of high-pitched, almost screaming tones, then moves between moments of total chaos and eerie silence. Instead of a neat ending, the piece slowly fades away, leaving you with a heavy, unsettling quiet—like the echo of a tragedy that never really ends.

What’s especially notable is how much this piece challenges what we usually expect from music. It doesn’t have melodies, harmonies, or rhythms in the way most music does. Penderecki broke all those rules to focus purely on emotion through sound itself. That approach not only made Threnody groundbreaking in classical music but also opened the door for its huge influence on horror film music. Filmmakers recognized how those sharp, dissonant strings create tension and fear on a gut level. You can hear Penderecki’s influence in iconic horror scores like those in Kubrick’s The Shining or Lynch’s Twin Peaks. Those creepy, screeching string sounds that make your skin crawl? That’s Penderecki’s legacy.

For me, what makes Threnody unforgettable is how honest it feels. It doesn’t try to comfort or please the listener. Instead, it’s a raw cry of grief made real through fifty-two instruments playing together but refusing to blend smoothly. It’s a reminder that music doesn’t always have to be beautiful to be powerful and that sometimes the most intense emotions are best expressed through sound that challenges everything we think music should be. Once you’ve listened, it sticks with you—an echo of sorrow that doesn’t fade.

Horror Song of the Day: Zombie Stomp by The Del-Aires


If you watched Horror of Party Beach earlier this week, you’ll definitely remember this song, which was performed by a Patterson, New Jersey band called The Del-Aires!

Everybody’s doing the zombie stomp!

Horror Song of the Day: The Dead Are After Me by George Edward Lott


The dead!  Are after me!

The 1986 film, Raiders of the Living Dead, features what may be the greatest song ever written about zombies.  For your listening pleasure, here is George Edward Lott’s The Dead Are After Me!

Horror Song of the Day: Damien (by DMX)


It’s been a while, but I’ve always thought of October as the best month for Through the Shattered Lens. The site has always leaned into sci‑fi and horror at its core—and in the early days, it was especially heavy on the horror side of things. That was really the big common thread between Lisa Marie and me when we first got started here.

So, as part of easing my way back into being a little more active on a site I’ve watched grow for over 16 years, I wanted to spotlight something that’s stuck with me for decades: “Damien,” the ninth track off DMX’s 1998 debut album It’s Dark and Hell is Hot. That record catapulted DMX—Earl Simmons—into instant superstardom.

“Damien” has always been the track I kept coming back to, even years after the album first dropped. The album itself was pure fire: a mix of chest‑thumping, hyper‑aggressive tracks laced with one of the rawest and most distinctive voices hip‑hop had seen since the losses of Biggie and Tupac. At the time, some even saw DMX as their natural successor.

But “Damien” stood apart. The song oozes dark energy, hitting like lyrical possession from start to finish. Built around a haunting sample from Stanley Clarke’s “Slow Dance,” the beat sets the stage for DMX to pour out a narrative of bad breaks, self‑inflicted wounds, and a desperate search for a guardian angel—only to meet something else entirely. Instead of an angel, he finds Damien, a voice offering help but radiating malevolence.

When “D” first enters the track, he plays almost like a mischievous accomplice, a shadowy partner in crime. But as the verses build, that “help” morphs into something more toxic, more sinister—a presence that feeds off the chaos it creates.

DMX’s debut wasn’t just a hit album; it pushed horrorcore rap into the mainstream in a way few had managed before. With “Damien,” he delivered one of the most chilling, unforgettable examples of horror woven directly into hip‑hop—a track that feels just as unsettling now as it did back in ’98.

Damien

Uh, Def Jam
Uh, Ruff Ryders
Uh, my nigga TP, creep with me

Why is it every move I make turns out to be a bad one?
Where’s my guardian angel? Need one, wish I had one
I’m right here, shorty, and I’ma hold you down
You trying to fuck all these bitches? I’ma show you how
But who-? (Name’s D, like you, but my friends call me Damien)
And I’ma put you hip to something (uh-huh) about this game we in
You and me could take it there, and you’ll be
The hottest nigga ever living (that’s a given?) You’ll see
Hmm, that’s what I’ve been wanting all my life
Thinkin’ about my little man, so I call my wife
Well, your dada is about to make it happen
(What you mean, my nigga?) I’m about to make it rapping
Today I met this cat, he said his name was Damien
He thinks that we’re a lot alike and wants to be my friend
(You mean like Chuckie?) Ha ha, yeah, just like Chuckie
(Dada, looks like we both lucky) Yeah

The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?

Ay-yo, D (What up, D?) You’s a smooth nigga
I seen you when nobody knew who pulled the trigger
Yeah, you know, it’s always over dough
You sure? I could have swore it was over a hoe
Nah, nah, that ain’t my style (igga, you stay fronting)
But you’re still my man, and I ain’t gonna say nothin’
Got some weed? Go ‘head, smoke it (what?) Go ‘head, drink it (what?)
Go ‘head and fuck shorty, you know I can keep a secret (aight)
I’m about to have you driving, probably a Benz
But we gotta stay friends, blood out, blood in
Sounds good to me, fuck it, what I got to lose?
Hmm, nothin’ I can think of, any nigga would choose
Got me pushing the whips, takin’ trips across seas
Pockets stay laced, nigga, I floss Gs
For that nigga I would bleed, give him my right hand
Now that I think about it, yo, that’s my man!

The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?

You like how everything is going? You like what I gave ya?
You know if you was going down, I’d be the one to save ya
But yo, I need a favor, these cats across town hate me
Plus their behavior hasn’t been too good lately
What? Anything for you, dog, where them niggas at?
38th from Broadway (aight, let me get the gat)
Run up on ’em strapped, bust off caps in four niggas
Laid low for ’bout a month then killed two more niggas
Now I’m ready to chill, but you still want me to kill
Look at what I did for you! Dog, come on, keep it real!
Aight, fuck it, I’ma do it, who is it this time?
Ayy-yo, remember that kid Sean you used to be with in ’89?
Nah, that’s my man! (I thought I was your man?)
But yo, that’s my nigga (hey, who’s your biggest fan?)
Either do it or give me your right hand, that’s what you said
I see now, it ain’t nothing but trouble ahead (uh-huh)

The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
How you gon’ see him if you living in the fog?

In the fog, the fog, living in the fog
How you gon’ see him if you living in the fog?
How you gon’ see him if you living in the fog?
The snake, the rat, the cat, the dog
To be continued, motherfuckers
Ah-hahahahaha

Horror Song of the Day: Mr. Sandman by The Chordettes


Our first Horrorthon song of the day probably seems like an obvious choice.  That’s okay, though.  Thanks to John Carpenter, this sweet little song about teen love became an anthem of impending horror.  None of the Chordettes are with us anymore.  I would love to know what they may or may not have thought about Carpenter’s use of their song in Halloween.

I’d like to think they would have appreciated it.  Michael Myers may not have had hair like Liberace but he did have a mask that looked a lot like William Shatner.

Mr. Sandman, bring me a dream (bom, bom, bom, bom)
Make him the cutest that I’ve ever seen (bom, bom, bom, bom)
Give him two lips like roses and clover (bom, bom, bom, bom)
Then tell him that his lonesome nights are over

Sandman, I’m so alone (bom, bom, bom, bom)
Don’t have nobody to call my own (bom, bom, bom, bom)
Please turn on your magic beam
Mr. Sandman, bring me a dream

Mr. Sandman, bring me a dream
Make him the cutest that I’ve ever seen
Give him the word that I’m not a rover
Then tell him that his lonesome nights are over

Sandman, I’m so alone
Don’t have nobody to call my own
Please turn on your magic beam (woah)
Mr. Sandman, bring me a dream

Mr. Sandman (yes?) bring us a dream
Give him a pair of eyes with a “come-hither” gleam
Give him a lonely heart like Pagliacci
And lots of wavy hair like Liberace

Mr. Sandman, someone to hold (someone to hold)
Would be so peachy before we’re too old
So please turn on your magic beam

Mr. Sandman, bring us
Please, please, please, Mr. Sandman
Bring us a dream

Songwriters: Clifford Smith / Robert F. Diggs / Jason S. Hunter