This chapter uses acoustic ecologist R. Murray Schafer's pioneering work on lo-fi and hi-fi soundscapes from The Soundscape: Our Sonic Environment and the Tuning of the World (1977). The hi-fi is where sounds can be heard easily due to the low levels of background noise and the Egyptian desert or tombscape would fit this category. The lo-fi is an area with a hubbub of different sounds—for example a busy city. I also utilise Schafer’s concept of ‘sound imperialism’—where the ability to dominate through noise is associated with power—to explain how uncanny sounds such as music, animalistic noises, shrieks and aurally transmitted curses in the Egyptian gothic are used in an attempt to subvert the ideology of colonial rule. My analysis covers sixteen novels and short stories, primarily utilising Algernon Blackwood's lesser-known Egypt stories as well as J.L. Schoolcraft's forgotten short story ‘Death's Secret’ (1917). I also examine Sax Rohmer's short fiction and the novels A King in Babylon (1917), The Image in the Sand (1905), Pharos the Egyptian (1899), The Beetle (1897) and Ziska: The Problem of a Wicked Soul (1897).