Music has a unique way of shaping how we feel, and some of the most compelling songs don’t just entertain. They move a person. This is especially true in genres such as dream pop, shoegaze, and cinematic soundtracks, where reverb-heavy instruments, minor keys, and echoing vocals create an atmosphere that lingers with listeners long after the song ends.
The eerie quality in music isn’t about jump scares or loud noises. It often comes from subtle manipulation of sound. Slow tempos, dissonant chords, and layered textures can evoke emotional responses, creating tension and curiosity simultaneously. Vocals that float, fade, or repeat unexpectedly make the listener feel slightly off-balance. This effect can be thrilling and satisfying if done right.
Horror movie soundtracks offer a clear example of this effect. Composers use haunting melodies and unsettling harmonics to make scenes feel tense and otherworldly. But research shows that these techniques are effective beyond film. A 2017 study published in Frontiers in Psychology found that listeners respond to dissonance and unexpected patterns with heightened attention and arousal. The brain becomes engaged when music breaks expectations, which explains why eerie or unsettling sounds can feel enjoyable instead of just uncomfortable.
Modern music often uses similar techniques. Artists like Phoebe Bridgers and Beach House rely on echoing production and minor tonalities to evoke moods that are melancholic, dreamy, or subtly unsettling. These songs do not scare anyone per se; rather, they enthrall, mesmerize, and linger in the listener’s mind.
In October, when the world itself seems to shift, eerie music feels especially fitting. It fits the atmosphere of fall, when everything feels a bit slower and more mysterious. Whether it’s a hazy track on a rainy afternoon or a shoegaze song when the world is quiet, eerie music has a way of lingering. Sometimes, the most memorable songs end up being the ones that resonate quietly long after they end.
Source: Hussain-Abdulaah Arjmand, Jesper Hohagen, Brayan Paton, Nikki S. Rickard, “Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change,” https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2017.02044/full
