In the late ’70s, the world was introduced to an album that would forever alter the landscape of sound effects records. Sound Effects No. 13 – Death & Horror, produced by Mike Harding of the BBC Radiophonic Workshop, wasn’t just an eerie collection of spine-chilling sounds—it was a phenomenon. Released in 1977 by BBC Records & Tapes, it was the thirteenth installment in the label’s Sound Effects series and an album that would both terrify and delight listeners, as well as ignite a fierce moral debate. Drawing upon the deep well of the BBC’s renowned Effects Library, the record delivered an unsettling range of sound effects tied to death and horror, with over 80 noises meticulously crafted for amateur filmmakers and theater productions. But it wasn’t just the sounds that made Death & Horror so unforgettable—it was the controversy that followed its release.
The creation of Death & Horror was a labor of both artistry and madness. In the hands of Mike Harding and Ian Richardson, the album’s sounds were crafted with a sense of dark humor and experimental zeal. The duo used everything from large white cabbages (which were “mistreated” in horrific ways) to metal bars sliding down coat racks to create their disturbing effects. These unconventional techniques produced an authentically grim experience, from the sound of a neck snapping to the chilling thud of a head being chopped off. As Harding noted, “The results were highly realistic and we even had some coleslaw left for dinner.” This creativity would mark the record as one of the most unique and memorable in the history of BBC Records.
The record was divided into six sections—Execution and Torture, Monsters and Animals, Creaking Doors and Grave Digging, Musical Effects and Footsteps, Vocal Effects and Heartbeats, and Weather, Atmosphere and Bells—each designed to evoke a specific facet of horror. It was as if the album was an eerie soundtrack for the darkest parts of the human imagination.
Upon its release, the Death & Horror album quickly stirred the pot. The unflinching nature of the sounds within, combined with the themes of torture, execution, and death, drew sharp criticism from moral watchdogs like Mary Whitehouse, who accused the BBC of an “utter lack of responsibility” for releasing such material. Whitehouse’s condemnation only fueled the album’s notoriety, causing it to be briefly pulled from sale. But the damage (or rather, the marketing genius) was done—sales soared, with the album quickly flying off the shelves. In fact, Death & Horror went on to become the first sound effects album to chart in the UK Albums Top 100, and its popularity only continued to rise, spurred by its forbidden nature. It would eventually sell around 100,000 copies a week, making it a surprising success in the realm of niche records.
As Roy Tempest, the managing director of BBC Records, quipped, the controversy worked in their favor, saying, “We had many requests for eerie and horrific effects for stage thrillers.” Despite accusations of wasting public money, Death & Horror proved that there was a market for truly unsettling sound experiences, and the album quickly became a cult favorite.
The legacy of Death & Horror didn’t end with its original release. In the years following, two sequels—More Death and Horror (1978) and Even More Death and Horror (1981)—further cemented the album’s place in sound effects history. The original LP itself was re-released in 2016 by Demon Records, this time as a limited-edition “blood-splattered” vinyl, drawing in a new generation of collectors and horror aficionados.
Today, Death & Horror remains one of the most memorable and influential releases in the BBC Records catalog. Its visceral sounds, which manage to sound both realistic and grotesque, have become iconic in the world of sound design. Critics have even drawn comparisons between the record and modern horror films like Berberian Sound Studio, with its themes of foley artistry and the unsettling power of sound. Death & Horror is a reminder of the power of sound to evoke visceral reactions and the role that atmosphere plays in creating a truly terrifying experience.
Whether you’re a fan of horror, a sound designer looking for inspiration, or just curious about one of the strangest and most unique albums in history, Sound Effects No. 13 – Death & Horror stands as a testament to the eerie artistry that can be achieved through sound.
