This paper proposes Peter Strickland’s work as a case study of how the uncanny properties of recorded sound can be interrogated within a narrative fictional framework. Berberian Sound Studio (2012) explores the capacity for audio manipulation and estrangement through the story of a sound engineer working on a horror film. We never see the film, but the technology that makes it possible is endlessly exposed and fetishised; gradually the engineer suffers a breakdown. The radio drama The Stone Tape (2015) deals with repetition. Itself a remake, it depicts audio technicians beset by a haunting that they realise is a type of recording. In trying to harness this phenomenon they unleash a chain of repetition that becomes more grotesque each time. In both works recording technology is the source of horror; able to subsume the human. The conclusion considers to what extent these works are self-reflexive about the anxieties they unleash.