Now it's common parlance for a very apt theory for hauntings as residual psychic energy recorded within the crystals and other minerals within old stone walls (in castles, especially), this can explain why older edifices such as castles and crumbling old mansions tend to be haunted more than plywood domiciles (unless said domiciles are build near major power junctions or rivers or above mineral deposits, aquifers, etc.
And maybe at the moment of your death, if it's violent and sudden enough, your terror and confusion can be so great that the moment right before your death you can unleash such a firestorm of latent psychic energy that you can create a rupture in the time-space continuum, like an LP with a note hit on a track that's so sharp and discordant the vibration causes the needle to skip out of its groove, and leaves that portion of your psyche behind, split off from the rest of your aura, to replay the same last few seconds or minutes of your life over and over - every new scream in mortal terror like the first, until even with a new record on the turntable that loop is still there, screaming maybe only loud enough to be heard during moments of high charge in the air (lightning storms, a child reaching puberty, etc.)
Either way it's fascinating to consider - especially if you follow the whole past life recovery phenomenon, lately taking off due to children and their parents being able to track down their child's past life via the internet - even to go and visit their old life's family--total strangers--and recognize them all by name, know where secret treasure is buried, et al. The unifying factor for them all is a brutal sudden shock death - one example even fell during 9/11; another was on the Titanic; another a Russian soldier who died in WW2, another a Navy pilot who went down in the Pacific. In each it's the idea that PTSD is such a powerful force, such a 'skip' on the album that it causes a stone tape sort of repetition even if the subject is still alive, and if dead it carries over --recorded in the soul and carried over, so that when the new album is getting started on the turntable the ghost of the skipping stone tape is still skipping on repetition in the distance, audible during the space between the tracks (when the child is asleep). Only by parental acknowledgement of the truth of this past life, its authentication in documents and information the existence of which the child couldn't possibly have known beforehand, can the kid move on (as in the very touching tale of James Lenninger).
Farther:
The Evolver Virus: Prometheus, The Dead Files (some date);