History NightmareFuel / ThrobbingGristle

* "Adrenalin" is an odd example- it's pretty accessible, but it's also taken at a nervous, frantic pace and features menacing, monotone vocals and odd, fragmented samples. Not to mention how eerily repetitive the whole song is...

* ''Live Albums''
** Many of their live concerts were notorious for being up front with their [[SensoryAbuse Sensory Abuse]] and visuals, where they would assault the audience with a barrage of loud noises and flashing visuals. There's a very good reason why it was called ''Muzak from the Death Factory'', and this was no ordinary phrase - much of TG's visual imagery was gruesome, vulgar or outright cruel; drawing from the worst of Humanity.
*** The Cassette releases of said Live Performances were mixed to the point that you felt like you were there watching them - almost being surrealistic.

** "Slug Bait," in which Genesis gives a detailed first-person description of a Mau Mau uprising atrocity.
** "After Cease To Exist" is quiet. [[ItsQuietTooQuiet Too quiet]], [[NothingIsScarier in fact]]. Its eerie calm-ness is quite unsettling- [[TakeOurWordForIt don't listen to it late at night]].

** "Hamburger Lady," which combines cold, mechanical electronics and thoroughly effects-fed vocals, with lyrics taken from a medical letter involving a severe burn-ward victim.

** "Persuasion." Built around a tape of a desperately pleading woman, with jarring guitar, two-note bass, and monotonous vocals, the song is essentially about emotionally abusing a woman to get her to shed her clothes.
** "What A Day", with Gen's insane ranting and the jerky, grinding, screeching music counts as this.
* "Very Friendly," off The First Annual Report. It's like Slug Bait, but with one of the Moors killings and its immediate aftermath. It spares not even the most minor of poetics, and it lasts about 18 minutes. Genesis sounds more or less detached, but gets more enthusiastic as s/he carries on, culminating in perhaps the most frightening sound s/he ever made with h/er mouth.

* "Zyklon B Zombie." It's hard to make out the lyrics (which are, unsurprisingly, about a concentration camp prisoner being led into a gas chamber), but the droning, muted vocals and subject matter are bad enough.

** The album cover. What seems to be a relatively innocuous photo of a child smiling in front of a 70s Hi-Fi is completely thrown out of the window when one notices the small inset of the child with her skirt lifted, implying a more disturbing scene. Due to the controversy, the Inset was removed from later reissues due to it's modern leanings towards being Child Pornography.

*** As confirmed in a later interview, the supposed laughter of a child mixed into the track was given to them anonymously by a pedophile.

** Many of their live concerts were notorious for being up front with their [[SensoryAbuse Sensory Abuse]] and visuals, where they would assault the audience with a barrage of loud noises and flashing visuals. There's a very good reason why it was called ''Muzak from the Death Factory'', and this was no ordinary phrase - much of TG's visual imagery was borderline fascist; drawing from the worst of Humanity.

** "Hometime" is a rather spooky piece with a child speaking with unsettling sounds making most of the piece. Doesn't help if you have headphones, where it almost feels as if you're there.

*** "E.coli". Even if you don't know what E.coli is (It's a species of bacteria that can cause a really bad infection of the digestive tract), the song is very ominous and discordant sounding.

* The album cover. What seems to be a relatively innocuous photo of a child smiling in front of a 70s Hi-Fi is completely thrown out of the window when one notices the small inset of the child with her skirt lifted, implying a more disturbing scene. Due to the controversy, the Inset was removed from later reissues due to it's modern leanings towards being Child Pornography.

--> ...And then he died! And he was just a lump of stuff.

* "Very Friendly," off The First Annual Report. It's like Slug Bait, but with one of the Moors killings. It spares not even the most mundane or irrelevant of details, and it lasts about 18 minutes. Genesis sounds more or less detached, but gets more enthusiastic as s/he carries on, culminating in h/er [[spoiler: imitating the victim in his death throes.]]

*** Mercifully, it appears that the letter is actually fictional.