Genesis (band)/Nightmare Fuel

From The Lamb Lies Down on Broadway, the Lamia, the Slippermen (again!), and Doktor Dyper.
- "And I'm hovering like a fly, waiting for the windshield on the freeway..."
- Don't forget the epic dissonance of "The Waiting Room"!
"Snowbound" certainly qualifies for this trope. A method of "waste management" that would have done Tony Soprano proud.
"The Day The Light Went Out", the B-Side to "Many, Too Many", also available in Genesis: 1976-1982. See also: The End of the World as We Know It.

When they went to bed that night no one would have believed
That in the morning, light would not be there
The dark hung heavy on the air like the grip of a jealous man
No place was there known to have been spared
Then panic took control of minds and fear hit everyone
The day the light went out of the daytime sky.

"Mama". Mechanical drum machine? Check. Ominous music? Check. Big drumming finale, like in "In The Air Tonight"? Check. Phil almost doing a Metal Scream? Check. Phil's Evil Laugh? Check. Stalker with a Crush Clingy Jealous Guy lyrics that would make Sting proud? Check. Is there a HONF bingo?
There's also the thief trapped forever in a disembodied state in "Home by the Sea", the global disaster and "beautiful river of blood" from "Domino" - for a band so many people think of as pretty light and fluffy, the Collins-era Genesis had a shitload of really chilling lyrics.
The twisting, loud, deathly melodies at the end of Entangled, played on mellotron and a warbly synthesizer, particularly as the song's lyrics concern a patient's discussions of mental illness with a psychiatrist, definitely count on their own.
"The Knife", about a soon-to-be dictator rallying his followers...

I'll give you the names of those you must kill
All must die with their children
Carry their heads to the palace of old
Hang them high, let the blood flow, now!

Steve Hackett has an instrumental track on his debut solo album, Voyage Of The Acolyte, sandwiched in between two gentle pieces, called "A Tower Struck Down". It is an aggressive, increasingly chaotic and dissonant piece with persistant, distorted electric guitars and analog synths, a sound effects Jump Scare in the middle, and the sound of a Hitler rally of "Sieg Heil"s at the end. Sweet dreams, kiddies.

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