I was first introduced to the Silent Hill games during a different fan project in 2010. I thought to myself, well, the only way I can call myself a fan is if I play these games. So I booted up Silent Hill 2 and immediately was seized by a wave of claustrophobia and dread.  I looked all around, but there were no monsters nearby, just fog. The source of my terror was a sound - a subtle mirroring of your footsteps that plays as you walk, and stops when you stand still.  Those footsteps terrified me so badly that I realized I was unable to play any further. I did however, begin listening obsessively to Akira Yamaoka’s soundtracks.  When the opportunity came to contribute to this song cycle, I leapt at the chance to represent the Silent Hill games. I found that the audio messages in PT form a sort of poem when placed in order, and those became the lyrics. Given the horrifying context of PT (a game that made me scream bloody murder and nearly hurl the controller), it’s eerie how the lyrics to this song emerged sounding so innocent. It’s practically a love song, but there’s an undercurrent of wrongness, just on the edge of the ordinary. That’s the genius of Silent Hill. Despite my complete inability to reckon with the games, I’m fascinated by them. Not all is right, and maybe that’s all right.

• Kevin

Appears on Song Cycle: The History of Video Games