From the 1960s to the 1990s over 3500 people were killed and tens of thousands were injured. The Cranberries make a pointed commentary on sectarian violence in Ireland with Zombie. “I must love what I destroy and destroy the thing I love,” under the Moon over Bourbon Street.Īs I mentioned earlier, zombies are often used as a “metaphor for much deeper fears,” so we take a serious turn now. “I have stood many times outside her window at night to struggle with my instinct in the pale moonlight,” he laments. Sting also gives us the POV of the undead, a vampire in this case. Though they are rather gory, nevertheless “We’ve got the hay, so let’s roll,” Aidan Moffat sings in The Turning of the Bones. Arab Strap’s song tells of two lovers who resurrect after seven years in the grave. Two songs tell the zombie story from the point of view of the undead themselves. Occasionally Joe picks up a hitchhiker and drops him off at a roadside cafe where the staff and other patrons fill him in on the heroic spectre he has just met. Red Sovine tells the tale of Phantom 309, a big rig semi driven by Big Joe. One such non-zombie is the ghost that takes a corporeal form. It was pointed out, quite correctly, that while all zombies are undead, not all the undead are zombies. “Are you ready to order? Scream with my living dead diner girls!” A heavy metal number, it mixes Japanese and English. A few Japanese takes were offered, my favourite being Living Dead Diner Girls by Tommy heavenly6. They are not just popular in the Spanish speaking world either. And Mexican troubadour Mister Chivo warns us Vienen Los Zombies (The Zombies are Coming!). Spanish singers Peret and Marina give us a rumba number about El Muerto Vivo (The Living Dead). In the Caribbean they are often referred to as jumbies. There were actually four versions of this song nominated. Harry Belafonte tells about the Zombie Jamboree. And zombies and other forms of the undead are a staple of Caribbean and Spanish culture. The back end of Zombie Prophecies is in French. Zombies seem to be a cross-cultural phenomenon. One such is the Taikonauts’ Zombie Prophecies which takes the form of a newscast. And oddly, two of them were backed by surf music. Buck 65’s Zombie Delight continues to explore the trope but notes that “one weird thing is they’re excellent dancers”.Ī surprising number of zombie songs use spoken word and narration to explore the theme. “Don’t get caught beneath the mistletoe!” they warn. Emmy the Great and Tim Wheeler start us off on an eerie, albeit lively rockin’ mood with Zombie Christmas. The zombie trope is a familiar one and our first three tunes visit our common notions about the walking dead. For 80 years, the undead have been used by filmmakers and writers as a metaphor for much deeper fears: racial sublimation, atomic destruction, communism, mass contagion, globalism – and, more than anything, each other.” In an article at Vox, Zachary Crockett argues that “the creature is more than an aesthetic horror – it is a form of political commentary. Zombies! What is it about zombies that makes them so popular? Sure everyone likes a good scare and zombies are a staple of horror movies.
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