Can a soundscape be schizophrenic? If so, this one might qualify. For about the first four minutes, composer Mike Trapp offers us a driving rhythm propelled forward by electric guitars and deep bass. Then, as if the titular serial killer has come to his senses, the music suddenly changes to low, soft, and a bit ominous, as the killer begins to chant his regrets (“I’m so sorry”) over and over. While this sudden shift embodies the title of the piece well, it makes for a bit more difficult timing at the gaming table. For one thing, it’s a bit hard to script time so tightly during an RPG; for another, the linear storytelling significantly limits the track’s loopability. Since I’m not likely to run a horror game anytime soon, let me describe how I’d use this track in a supers game with a transforming victim/villain like Dr. Curt Connors/the Lizard, Kirk Langstrom/Man-Bat, or Dr. Jekyll/Mr. Hyde. I'd set iTunes to begin the track at either 0:23 or 0:41 (depending on my need for the slight downtime/intro provided by the earlier starting time) and to end it at 3:58, and loop just that section for the big fight. Then I'd switch it to a loop running from 5:00 to the end of the track, on loop, after the character’s transformation. The section in the middle, from about 3:59 to 4:59, could be used during the character’s actual transformation back into the “innocent” scientist or whatever. This might require making three copies of the track and monkeying with the ID3 tags a little bit, but it could be pretty effective. Please understand that the music and effects in this soundscape are really very good, but I gave it only three stars because of the amount of work I think is needed on the GM’s part to get the most out of this track at the gaming table. This one doesn’t “just work” like so many of the other Sonic Legends soundscapes.

This is mostly a guitar heavy rock sounding track with some vibraslap thrown in for good measure. Overall, I'd say it's more appropriate if the serial killer in question is more aggressive and patrolling the streets for victims. It doesn't really suggest a hidden danger or someone trying to lure the PC or PCs into a situation where they will be defenseless. Eventually, it turns a bit more mellow with some keys and guitar and I'm not sure how it fits. After listening a bit more, I'd say the end actually works better for a serial killer if the group stumbles upon the killers abode filled with disturbing remains of his work.

Cool, evocative, and sinister. I like the track a lot and think the title fits it pretty well. It would work well for a modern crime or horror game, as well as spooky sci-fi game. I also think it would be a cool track to use for something along the lines of a haunted asylum.

A nice, mildly disturbing song with distressed voices. This could easily go in the background of any scene where the players are up against an unknown killer. Some parts are louder than others and, while that works as music, it could break concentration during a game when using it as background noise/theme music. I recommend it and may use this in a Dread game.

Featuring oddly dissonant voices and a nicely distorted guitar, this music is good for a modern campaign, particularly when the characters are heading into a troublesome encounter, or searching room to room for, say, a serial killer. At one point "I'm so sorry!" echos through the music with just the right twist to the words. Another great mood setter by Sonic Legends.