So you're listening to a nice, pleasant song about and. Then the final note of the song falls and, instead of a nice soft resolution, it's a heavily played note in a minor. Then the music fades into a series of dissonant arpeggios with a creepy mechanical voice muttering some nonsensical gibberish that sounds like Satan reciting an story.

It's surely not the ending you expected this particular song to have — and if you happen to be really unlucky, it'll like some self-regenerating. Musicians most likely put these kinds of stingers at the ends of their songs to make them memorable. Last Note Nightmare can be very comparable to a, especially of the variety. The opposite of a Last Note Nightmare is. (Music geeks might be interested to that there is an, the 'Picardy third,' or 'Tierce de Picardie' in which when a song that has been in minor the whole time goes into major on the very last chord.) Compare and. 'WHAT DO YOU MEAN, IT'S NOT IN THE COMPUTER?!?!' • The end of 'Hollywood' consists of a heavily synthesised, androgynous voice saying Push the button!/Don't push the button!

This album is just as great as the band's first album and is a great mixture of cover songs as well as originals. It was released only a few months after Mr Tambourine Man and pretty much picks up where that album left off. The number of Dylan covers are cut in half here while McGuinn gets a bit more on the songwriting front.

Which gradually slows down as the background music fades and becomes a contorted, almost demonic mess. • Here's an inversion of the trope: 's 'Another Part of Me' from begins with an note, but becomes a normal MJ song after that. • The singles 'Dirty Diana' and the much more well-known 'Smooth Criminal', both from begin with similar noises. The video for the former ends with the same noise, which acts as a very effective soundtrack to the video's. • 'Stranger In Moscow' from, a slow, moody ballad, ends with a man whispering menacingly in Russian over the end. Chills right up the spine.

Allegedly this is a KGB agent interrogating us. The liner notes for Michael's album Blood on the Dance Floor: History in the Mix give a translation: 'Why have you come from the West? To steal the great achievements of the people, the accomplishments of the workers.' • The ' version of 'Superstar' has a morose and unsettling resolution. • 's 'That's The Way I've Always Heard It Should Be', already a rather dark and cynical song, ends with her vocal echoing off very eerily. • The last part of Lara Fabian's is particularly creepy.

While it could be argued that the sound fits considering the theme is Lara teaching young children about violence in history, it still doesn't change the fact that the last part of the song is incredibly creepy. In fact, watching the video only adds to the dread the song makes you feel. • Scissor Shock's • Inverted with the extended mix of song 'Jungleland'. It starts out with heavy breathing, with starts getting louder, and louder, AND LOUDER! The rest of the song is just awesome though. • Played straight with 'Murder Story,' the last song on their first album. The sudden ending is quite jarring, and makes listening to their second album even creepier.

• 'Somehow' by Drake Bell is ostensibly about a battered wife who eventually decides she's had enough, weighs her husband down and throws him into the lake, and is now pondering how to cover it all up. This is creepy enough, but the slow, dark, acoustic guitar-y song ends with a snippet off cheerful piano music, which suggested that the woman snapped entirely and is now in a state of cheerful, giggling insanity. • The end of 'Pleasant Valley Sunday' by is pretty unnerving. At the end, the cheerful harmonies blur into a fuzzy, echoing, almost unrecognizable cacophony. Scary indeed, if you've never heard it before. • by Blood, Sweat and Tears is a fairly mellow jazz-rock fusion song, often used as an example of the genre.

However, after the lyrics end comes a Last Note Nightmare that spans a quarter of the song. The music continues repetitively, but is interrupted - twice - by some frankly demented carnival music. On the third interruption, the carnival music mixes with the 'normal' music and slowly overwhelms it before grinding to a halt (at which point the band members can be heard chuckling and admitting that 'That wasn't too good.' ) Can also lead to if one only then realizes that the 'spinning wheel' is a merry-go-round. • Dave 'Not The One From Eurythmics' Stewart and Barbara Gaskin have two notable examples. • 'Busy Doing Nothing' is a quirky, happy song, but immediately after the final lyric, when the song sound like it should end, it suddenly segues into a minor chord and a sound resembling a ticking clock, with a children's choir softly repeating the final line. • More noticeably, 'Trash Planet' is a chaotic but upbeat song, with, but at the end the key abruptly changes, a high-pitched whistle occurs, and then the piece gradually collapses into a random cluster of noise and the sounds of people coughing/vomiting.

After about half a minute of this, there is suddenly an explosion, and then in the silence a childlike voice says 'Bye-bye!' • The radio edit of 'Head Over Heels' by differs from the album version in that it does not, 'Broken (Live)'. This makes Roland Orzabal's final wail of 'TIIIIIIIME FLIIIIIIIIIIIES!!!'

, which already had little to do with the rest of the song, much more unsettling and out of nowhere. • 'Cry' by Godley & Creme.

A low-key, mournful Motown-ish ballad that ends with a, followed by a few falsetto iterations of 'CRYYYYYYYYYY!!' Digitally treated to be successively, inhumanly high. The for the song this, and it even made •: 'Fear and Loathing' is already a rather uncanny song compared to the rest of the album, and it ends with a muffled female voice singing an eerie tune with indiscernible lyrics. • 'American Kids' by ends with her singing the title over and over, each time getting If you listen close enough you can hear some too. After that, • The song 'Yeah.'

At about the 2:25 mark, the song briefly halts. The chorus is then played a half-key lower for the remaining thirty seconds. It's creepy, because it's just so out of the ordinary (thus also making this a ). • Inverted and played straight with 'Dream Weaver' by Gary Wright, which opens and closes the relatively calm song with an ominous synth drone.

• An unexpectedly tense chord, accompanied by vocal harmonies, ends the otherwise gorgeously sunshiny 'Cherish'. • Thy Slaughter's, released on the ever-weird PC Music label. The song itself follows PC's trademark quirky bubblegum pop style, but abruptly finishes with a startling, distorted -like voice saying. • were fond of this trope. 'Strawberry Fields Forever' has a particularly disturbing last final seconds with quivering flutes and a slowed-down voice reciting 'cranberry sauce'. • Upon hearing it on take 7 of the song (from volume 2 of ), John says 'I'm very bored' twice. • The best (or worst?) example would have to be from their song 'Long Long Long.'

It really doesn't help that the song itself is played at a lethargic pace that makes it seem as though it's slightly disconnected from the real world in the first place. • 'Cry Baby Cry' from is already a haunting track, but then out of nowhere Paul is heard singing 'Can You Take Me Back?' , which is a reprise of 'Honey Pie' two tracks earlier, but here it just sounds as if he is fading away out of existence. Made worse by the fact that the next track is 'Revolution 9', which is a last note nightmare from beginning to end. • There is also the laughter (or crying?) at the end of 'Within You Without You' from George Harrison insisted on its being there because he thought it would be a light touch after the heavy song.

• George Harrison in particular seemed to like this a lot. ('One more time.' From 'Piggies' on ) • The final chord of 'A Day in the Life' from fades out so long you can almost (?) hear the air conditioner.

• And then, seconds after the last vibrations of the chord have faded, there's the sudden discordant loop of distorted, randomly-spliced-together studio chatter. In the original British LP pressings, this was placed in the record's 'run-out' groove so that listeners with manual turntables would hear it indefinitely until they lifted the needle. (If you're a dog, you'll experience your a few seconds before this, as Lennon added a 15 kHz tone, inaudible to most humans, specifically to annoy you.) • Never could be any other way! Never could be any other way! Never could be any other way! Never could be any other way!

Never could be any other way! • It helps to know that this loop, played backwards, sounds remarkably like, 'I'll fuck you like Superman! I'll fuck you like Superman! Paul McCartney said in his autobiography Many Years from Now that he never knew this (they certainly didn't plan it) until someone played it backwards for him and he yelled, 'Gaaaawwwwd!' Later, Paul-Is-Dead mongers heard this as 'Will Paul be back as Superman?

Will Paul be back as Superman?' • Retro novelty act Big Daddy, whose schtick was to redo popular hits (mostly 80s and 90s, but also the entire SPLHC album) in 1950s rockabilly and doo-wop arrangements, performs this in the style of Buddy Holly.

At the end of the track the air conditioner hum is replaced by the steadily increasing sound of a small airplane engine, the jarring chord is replaced by the inevitable crash, and the jabber of voices is replaced by a recording of a radio newsman reading the announcement of the deaths of Buddy Holly, Ritchie Valens, and The Big Bopper. • The end of 'I Am the Walrus,' complete with buried.

This one helped fuel the 'Paul Is Dead' rumors. • 'I Want You (She's So Heavy)' from is a dark and heavy song in itself, but its ominous ending with the bass chords and static is still a, even compared to that — especially since it cuts off in the middle of that last note. • Said last note appears at the beginning of 'Her Majesty' from, which starts nearly 20 seconds after 'The End' and was unlisted on the original vinyl. This means that the first note of 'Her Majesty' is a reverse example as well as being a. • 'Being For The Benefit Of Mr Kite' from (which was already rather eerie to begin with) suddenly cut into 'I Want You (She's So Heavy)' on the LOVE album. The whole 'song' became a.

AND it has the creepy organ from 'Being For The Benefit Of Mr. Kite', AAAAND snippets of the vocals from 'Helter Skelter'. And creepy laughing, which seems to be a theme in love. PLUS after the infamous cutoff, there are weird swirly wind sounds.

Then it cuts to 'Help!' • The Beatles: actually visualizes the nightmare by blacking out your TV just as the song ends. • A version of 'Penny Lane' on the 2 album has a Strawberry Fields-like ending, which begins with a short trumpet fanfare, and segues into a strange guitar and piano coda, accompanied by someone breathing heavily into the mic. It's subverted at the end, with Paul cheerfully proclaiming 'What a suitable ending, I think!' • And of course this is inverted with 'A Hard Day's Night,' which is the first song on the entire album and kicks off with an in-your-face, dissonant Dm7add11 chord on the guitar. • CHUNNNNNNNNNNNNNNNNNNNNNNNNNNNNNGGGG.

• At the same time as a piano chord courtesy of George Martin. • 'It's All Too Much' from also starts with a loud, dissonant guitar chord, which is quite unwelcome if you aren't expecting it. Right before that, John is cut off while yelling 'To Jorma,' a tip of the hat to a member of Jefferson Airplane. • The Beatles used a Picardy third in 'And I Love Her,' which uses a D-MAJOR chord at the end of the song, which is in C# minor and D minor. • Most of the above examples were intentional. The ending of 'Good Night' from probably isn't.

Once you've been lulled half to sleep by the song's dreamy structure, Ringo's stage-whispered 'Goodnight everybody, everybody everywhere' will make you jump ten feet, especially if you're using headphones. • • There was an ABC radio program called Ringo's Yellow Submarine, which featured Ringo playing various Beatles songs and commenting on them. At the end of 'Good Night', he added a whispered, 'Hope everybody had a good time on Ringo's Yellow Submarine this trip!' , which likely had the effect of making listeners who were already used to hearing the song jump ten feet. (Can be heard in around 49:30.) • Lennon's song 'I Don't Wanna Be a Soldier Mama' (from the album) sounds like Lennon was inspired by the swampy trance blues of Dr. John the Night Tripper, and then laid on a heavy-duty '.' It starts out sounding like an antiwar protest song, but the lyrics dissolve into surreal wordplay as the reverbing music attempts to dissolve your mind, dissolve itself into sonic chaos.

Finally, that weird electronic last note nightmare is like a signature, as if to say: From the people who brought you 'Revolution 9.' • 'Who Was in My Room Last Night?' By ends with a long drawn out guitar chord complete with crackling in the background that makes it sound like your speakers are about to die. •: The song 'American Beauty/American Psycho' starts out with an ominous xylophone like noise and then jumps to the upbeat pop punk song, only to end with the same evil sounding noise in the beginning. In a way, the ominous portion in the end and beginning can be thought of the psychotic portion, while the upbeat rock section that takes up most of the song is the beauty. • The nightmare is slightly reduced when you notice the noise's bizarre similarity to the Beanie Boys chant in. • 'Goodnite, Dr.

Death' by is truly horrifying. The majority of the song is normal enough- it's just the national anthem, but something feels slightly off about it. Then, on the last note of the song, it gets and even more jarring is that 'Vampire Money,' an upbeat song, • song 'Dirty Little Secret' is an upbeat pop punk song, but it ends with a stretched-out guitar note that gets more sour-sounding the more it goes on, until it just dies. • ' Boi' by ends similarly, but, making you really wonder- why did it end like that? •: • The -penned, set to music, ends with the evil sword Stormbringer boasting its evil in an unearthly metallic voice. Most listeners miss the very faint last line. Poor fucking humans • 'Flaming Telepaths' has about a dozen repetitions of the song's chorus 'And the joke's on you!'

During the outro. Then, after a final 'And the joke-', the song stops dead. Not so much frightening as it is a 'WTF just happened?!' Moment - but definitely startling if you're hearing it for the first time (or any time, if you keep losing track of the repetitions). • ' 'She's A Rainbow' from has a good driving beat, Mick sings the praises of a girl who dresses up in colors, underlined with a cheerfully inane 'la la la' chorus, he alternates verses with a sprightly Baroque piano playing the tune.then it ends with strings in a shrill chittering discord with a low-end chord of doom under it bursting through everything else! • 'Cool, Calm, and Collected' on their album has a jolly, jaunty music-hall vibe to it - then after the last verse, the beat starts quickening, slowly at first, getting more and more reckless as the piano gets more and more frantic, until it all collapses into a big reverberating noise. • 'Nutted by Reality' by Nick Lowe starts off as a tongue-in-cheek song about 'castrating,' parodying the sound of.

It then shifts tone a minute later and takes up the rest of the duration as a tongue-in-cheek song set to stream-of-consciousness lyrics about 'living in a different world but [being] nutted by reality,' parodying the sound of Paul McCartney & Wings. A twangy, country-style guitar solo follows, but instead of leading into an upwards key change and a reiteration of the song's chorus (as years of formulaic pop songwriting have taught us to expect), simply trails off into nothingness. • 'Jeremy' by from takes a twist after the final chorus, with a series of slow, agonizing(and depressing) vocal phrases, made even scarier by the 'spoke in, spoke in' background vocals, ending with an abrupt scream, after which the song winds down with a tired 'uh huh' vocal section, finally fading to melancholy acoustic guitar. This is supposed to symbolize Jeremy's descent to insanity and death. • With Release, around the six-minute mark, the song segues into a reprise of the album's cacophonic intro. • The CD release of 's ends with a cover of 'My Generation.'

It's loud, all right, but it appears to stop. Only to end on a note a good twenty decibels louder than anything else on the album.

• 'Disturbance' by The Move switches from being a a fairly energetic pop-rock to a mix of ominous guitar and therimen playing, creepy background chanting, and the singer snarling, grunting, and screaming unintelligibly. It doesn't help that the song seems to be about the singer questioning his own sanity at various points in his life. • 'I Ain't Got No Heart To Give Away', from and the Mothers'! It cuts suddenly to a scream and a weird jumble of instruments, only to return with a triumphant horn blast. • Though Zappa also used it straight.

'The Chrome Plated Megaphone Of Destiny' from is a nightmarish track that should be understood within the context of 's and closes the album. The of is a monotone of one dissonant note which closes off the album. Then it is revealed that this piece was performed live, as we hear some people booing, others applauding and Zappa closing off the show.

Ends with 'Jonestown', a haunting instrumental piece inspired by the mass suicide of the members of Jim Jones' cult. • from by, starting at 4:09. • The cacophonic ending of 'Space Oddity', from. • For most of its length, 's 'Wind Up Toy' is remarkably perky and upbeat for a song following up on the earlier album Welcome To My Nightmare and about the attempts of the deranged Steven to understand his incarceration in a mental institution and the turn his life has taken through a distorted, childish lens. Then comes the ending, where everything cuts out except the broken music box, while a strange, distorted, childish voice goes into a deranged rant, followed by a distant, quiet female voice calling out 'Steven!' • 'They come here every night.I see them, don't you see them? Hm, that's odd, isn't it?

You seem tired. Kenwood Integrated Dishwasher Handbook 2. winding down. YOU HAVE TO GO NOW IT'S BEDTIME' • ' • 's 'School's Out' uses a gimmick very similar to the one in 'War Pigs.' Where the end of the song fades out sounding exactly like an 8-track tape being chewed up. Imagine how scary that must have sounded to a fella who just bought the new 'Coop album back in the 70's. • The album Killer ends with a mock execution, with it's final seconds sounding like an electric chair being activated. • Would you believe 'Wonderwall'?

After the vocals are done, the song segues into a beautiful lush strings-and-piano piece and ends with a few acoustic guitar chords with birds chirping in the background. But between these two pleasant interludes, the piano fades, leaving the violin and bass viola to hold one last note. And then even the bass stops, leaving a single violin note which gets less and less melodic until it finally climaxes with a hideous, almost voice-like 'BLLLLLEEEEEAAAAAGGHHHH' sound. If you're not expecting it, it's a real Penultimate Note Nightmare. • The nightmarish strings at the end of Supertramp's 'If Everyone Was Listening', from Crime Of The Century.

• by is 64 minutes of nothing but a. • The track 'The Bed' from album is a dream-like song with a final moment of pure nightmare.

• What about 'The Kids', also from 'Berlin', another quiet song that in this case ends with the voices of children hollering for their mother, sounding for all the world like they have just been told she is not coming home. According to legend Bob Ezrin brought his own kids into the studio, told them their mother had been killed in an accident and rolled tape.

Though he himself denied the story and said the children just were able to cry on command very convincingly. • 's from is a fun, commercial-like jingle welcoming visitors to the cult of the Pinball Wizard himself, sung cheerfully by his sexual predator uncle, Ernie. At the end of the song, Ernie decides he'll exclaim 'Welcome!' , but, deviating from the happy tone of the rest of the song, does so in a scratchy and ominous voice. • Also from The Who is, which gets bonus points for being the last note heard on the first disc of '; out of nowhere comes a loud, distraught ', which fades into cacophonous dockside noise. • 'Baba O'Riley' from can be this too. The fiddle track, already playing at a pretty frantic pace, becomes an almost panicked, discordant mess in the song's final moments.

Unnerving if you've never heard it before (or are only familiar with it via and haven't heard it all the way to the end). • and had a 1976 minor hit with '(I Believe) Love's A Prima Donna'. The single release's B-side was a pleasant (if slightly queasy) instrumental titled 'Sidetrack 1'. This track eventually fades down, you think, 'well, what a nice if bland little tune'.and THEN, you're suddenly hit with a discordant, teeth-grating, violin/synthesiser sting that sounds like an evil extra-terrestrial has taken control of your stereo.

• Also from them is the song 'Ritz'. It's not the most cheery tune to begin with, but it has a steady rhythm.until after the final verse, where the music starts to fade away to be replaced by what sounds like a horror movie soundtrack, at the very end of which a barely audible, distorted voice says something that sounds like 'Hello there'. • 'A Season In Hell (Fire Suite)' by John Cafferty and the Beaver Brown Band, off the Eddie and the Cruisers soundtrack.

It's a pretty generic Springsteen-ish tune in a minor key until after the last chorus. Then the guitar line ascends.and ascends.and ascends.and then CRASHES with a deafening low chord accompanied by chimes and bells that sound like glass shattering. • Not quite as blatant as many, but the Tom Waits song 'Johnsburg, Illinois' from the album.

The first minute of the short song is a tender piano piece about a sweetheart, but towards the end of the song there is a missed note, and then a couple; the tune eventually grows into a series of dissonances that make for a somewhat creepy ending. • 'Fire on High' by ELO is a. It begins with a, segues into a backmask (intended to parody accusations of Satanic backmasking) that, when played forward, says 'The music is reversible, but time is not.turn back, turn back, turn back!'

And then builds into Psycho strings.before mellowing into a catchy, toe-tapping jam. • Bonus points if you listen to the backmask part knowing what's being said when, and realize the is played right when the voice says 'time is not.' • 'Don't Bring Me Down' has a rather haunting echo effect on the final note. • 'Epilogue', the last song from the Time album, just suddenly stops after a rapid crescendo. • 'The Diary of Horace Wimp', a cheerful little song about a shy man conquering his fears, dating the girl of his dreams and finally marrying her, slowly fades into a demonic whisper, repeating 'Horace WIMP! Horace WIMP!'

Until it fades to nothing. Particularly unpleasant if you've never heard the song before. • The Rentals have one in the entire last minute of one of their newest songs, 'Damaris'.

• The Cherry Poppin' Daddies' album Ferociously Stoned features 'The Lifeboat Mutiny', which is mostly mellow, if cynical - but near the end, the song starts breaking down, and a woman's voice starts repeating 'please turn off the lights' in the background. It's terrifying.

• Inverted by the Posies with Coming Right Along, where the tune of the song is a little unnerving, but ends with a major chord. However it's still a sort of because it seems so out of place in the context of the song • 'Susan' by The Buckinghams. Basically an 'I love you, and you don't care' song. It's nice to listen to.

Up until about 1:30 when suddenly, you feel like you've been kicked out of the 60's and dropped into Hell. Then pulled back out again, greeted by the cheerful chants of 'Love love love love.' • This actually touched off a 'Louie, Louie'-esque moral panic that got it banned from radio play, until a cut version without the psychedelic interlude was released.

• While ' epic 'Not To Touch The Earth' from is already fairly creepy on its own with a low, driving bass and some unsettling imagery ('Dead president's corpse in the driver's car'), the end features the low hum of an organ as Jim Morrison utters, 'I am the lizard king. I can do anything.' The immediate stinger is a quick bang on the organ. • • From, there's 'You Take My Breath Away'. A nice and slow, sweet and sad song for most part.

It starts getting downright spooky at around 4:42 with a quiet reverb loop that steadily grows louder. • The same album brings us 'White Man' which ends with a nice, acoustic outro, followed by a LOUD drum beat after a pause. • From there's 'The Prophet's Song'. After an already bizarre ending, it breaks to a series of repeated guitar riffs which goes on for quite a few seconds before breaking into a. • • 'I Think I Lost My Headache' probably fits the bill.

It starts with a slow, kinda creepy riff, gets a little bit more upbeat in the verse and chorus and right at the end, goes back to the creepy riff. And then, the creepy riff is repeated by wind instruments while the song fades. And one of them, the high-pitched one, slowly starts to go offbeat, improvising (or to put it more correctly, sounding like a goddamn screech).

A Last Note Nightmare that goes on and on and on and on. • 'Make It Wit Chu' is a pretty mellow, upbeat song that ends with a series of strange and sinister keyboard notes, which are the main riff from '.'

• Motorpsycho's 'The One Who Went Away' ends with muffled laughter and a deep voice which says; 'and listen, we are here to help you'. The way it's said makes it sound more like a threat than anything else. • The album version of 's 'Blood Red Sandman' ends with the sound of a knife being sharpened.

• by can easily classify as psychedelic horror by itself. But eventually the shiver-inducing backmasked guitar, bass, and drums fade into silence with Jimi's meandering solo on top.and then a sharp, blaring guitar chord surges at you and fades out just as suddenly. And it really doesn't help that said chord never sounds the same twice, even though it's the same recording. • Also, 'Wild Thing' on Jimi Plays Monterey. The song ends with Hendrix setting his guitar on fire and smashing it to pieces - cue howl of feedback as the bits o' Strat burn merrily. Eventually it fades out and goes quiet for a few seconds. And then just when you start relaxing there's a last, impossibly loud shriek as (presumably) someone unplugs what's left of the guitar.

• has several. • Their 20 minute epic '2112', after closing with an upbeat hard rock instrumental, closes with a distorted, ominous voice repeating 'ATTENTION ALL PLANETS OF THE SOLAR FEDERATION' and 'WE HAVE ASSUMED CONTROL' three times each.

It also inverts this at the beginning, starting with a series of ominous synth sounds. • 'Cygnus X-1' from A Farewell To Kings, also inverts and plays this straight.

It starts with ominous bell tolls mixed with synth sweeps, with a distorted voice on top, before morphing into an upbeat funk rock-infused instrumental. It also has a last note nightmare near the end, as at the end of an already heavy part, Geddy Lee's voice shrieks out 'Every nerve is. 'TORN APAAAAAAAAAAART.' Leaving just Alex Lifeson's guitar and an ominous pulse fading out. • 'Natural Science' from Permanent Waves, end with what sounds like a tidal wave forming.

• 'Child in Time' from and by ends with eerie groans that build up to screams, some of which after which the song ends on a dissonant. • Subverted by Lucifer by, which begins with a nightmarish sounding string ditty, followed by rapid morse code. Then the song fades I to a typical APP instrumental. • 'Nights in White Satin' by the Moody Blues ends with a series of ominous string and brass chords, followed by a loud gong. The album version also includes keyboardist Mike Pinder reading a short, somewhat eerie poem by drummer Graeme Edge near the end of the song.

• Makes sense in context, although the context is often lost these days. The song and poem was originally the final track on the Days of Future Passed album, and the ending serves as a coda to the entire album. Since only a couple of songs from the album receive any significant airplay now, most people don't know about this. • 'White Hammer' by is a somewhat cheery-sounding song about, until the last two minutes where it suddenly turns into a nightmarish fight between a saxophone and a church organ. The fact that the song is really about the Spanish Inquisition may explain this. • Don't forget 'Man-Erg'!

Probably the example of a song that exemplifies this trope more than any other - starts with a calm, soothing simple piano & organ progression, that suddenly descends into honking cacophonous Saxophone blasts, with Hammil shrieking 'HOW CAN I BE FREE? HOW CAN I GET HELP?

AM I REALLY ME, OR AM I SOMEONE ELSE??' It soon abruptly changes back to the simple piano, not before long doing pretty much the same thing again. 'Lemmings' from the same album ( Pawn Hearts) is similar, to a lesser degree. And 'A Plague of Lighthouse Keepers'?, well. • From the same album, the track 'After The Flood', after veering from pastoral reflection to skronky jazz-rock, climaxes with Peter Hammill screaming 'Total Annihilatiiiiiiioooooooooon!' Through a voice filter. Beyond nightmarish.

• The last minute and a half of 's 'Bike' from is made up entirely of discordant mechanical sounds and cartoonish laughter. • 'Don't Leave Me Now' from the film version of is an already creepy, if quiet song about Pink's pining for his, alternating between his begging her to come back and His desperate singing/screaming is punctuated when his wife's shadow appears on a wall, before morphing into a yonic mantis/snake creature as the song crescendos into the second section with drums, bass, and guitar. • 'Jugband Blues' from finishes with a cacophony of a brass band each playing random notes and background distortions, but then at the very end, it fades out into Syd Barrett softly singing the last few lines in a ghostly voice. Even creepier considering that this essentially marked the tragic end of his unraveling involvement with Pink Floyd. The adds visuals that take it straight into horror territory. • closes with screams (). • Pink Floyd tends to really like this trope. The Social Network Movie Torrent Download Dvdrip on this page.

There's the creepy bridge toward the end of the jolly folksy 'The Gnome' from ('look at the sky, look at the river, isn't it gooooooood?' ) and then the maniacal screaming at the end of the somewhat calm 'Careful With That Axe, Eugene.'

• The old Cog song 'Just Visiting' spools up into increasingly discordant machine noise at the end, culminating in a sound like the squared. Thirty-odd seconds of silence later, the drummer screams FUCK! As if from the end of a long corridor. And then continues incoherently screaming curses of the 'Fucking fuck! Who the fuck? What the fuck? Where the fuck?!'

Variety, sending the whole thing into possibly-intentional. Good song though. • Inverted in 's 'Saving Grace', in a similar manner to the example: It's an optimistic slightly jazzy soft-rock song that incongruously starts off with a low bass note and a short burst of slowed down unintelligible. • Played straight with “Golden Goose,” which ends with a synth squawk. • 's song 'Asilos Magdalena' begins with a loud, high pitched guitar and keyboard combo, then segues into a quiet, mournful acoustic ballad. Then in the song's final two minutes, the last verse is sung over and over again while the vocals become increasingly and disturbingly distorted until they're nearly incomprehensible. The general creepiness of the lyrics themselves don't help much, either.

• There are a number of Mars Volta songs which could fall into this category, especially the first three tracks off of Frances the Mute: 'Cygnus.Vismund Cygnus,' 'The Widow,' and 'L'Via L'Viaquez.' All of these tracks degenerate into creepy distortions at their end, degeneration which involves unnecessary slow-downs of the otherwise pleasant rhythms of the songs while throwing in a few distorted and incomprehensible voices (sometimes speaking in Spanish) for good measure. But the worst is at the end of 'L'Via L'Viaquez' when there's nothing left but an electronic distortion where the strong rhythms once were and the demonically-distorted voice of the singer over top, repeating the chorus of the song. Granted, it's not like the Mars Volta normally sings about anything bright and happy or even that understandable.

• TMV just loves this trope. 'Goliath', 'Illyena', 'Ouroboros', and 'Wax Simulacra' all end with noisy freakouts. (Though the last one is a bit more mild, it's just an unexpected sax solo) • 'Tourniquet Man' is the biggest example of this with the already eerie and ominous song turning into complete and utter insanity as the voice becomes more electronically distorted, the drums begin playing in an off beat sounding rhythm and the saxophone section just freestyles as if nothing is going on. The effect makes an already creepy song balls out terrifying. • 'The Talking Drum' (or its pale copy 'Dangerous Curves') by — each builds up tension for about seven minutes and releases it in a startling, dissonant blast. • Most of King Crimson's work qualifies for this trope- they were well known for it. 'Lark's Tongues In Aspic (Part 1)', '21st Century Schizoid Man' (from.

Formed in Japan's northernmost province of Hokkaido at a time when most of their Tokyo contemporaries were in thrall to the sounds of Seattle, Japanese three-piece the Pillows sidestepped the loud-soft dynamic to provide a more wholesome take on the alternative rock scene, inspired by the lyrical folk-rock of Simon & Garfunkel and classic British pop, from the Beatles to the Jam. Outside of their homeland, the band is best known for its soundtrack to the anime series FLCL (pronounced 'furi-kuri'). Over the course of their career, the Pillows have left a considerable stamp on the Japanese alternative rock scene, as evidenced by the release of a 2004 tribute album that saw various Japanese pop and rock luminaries pay them homage.

The Pillows debuted in 1991 with the album Moon Gold, although the band's early reputation was built upon a frenetic nationwide touring schedule that was matched only by the intensity of their performances. A burgeoning fan base was cemented with the release of the 1996 single 'Strange Chameleon,' which today remains a cult favorite among longtime fans of the band. For their breakthrough album Please Mr. Lost Man (1997), the Pillows signed to King Records, and the same took their live show to London. The Pillows found a wider international audience when their songs were featured in the Gainax-produced anime FLCL, broadcast in the United States in 2000. The series followed the travails of a 12-year-old boy, Naota, who meets a guitar-wielding, Vespa-riding woman. The Pillows penned a new track, 'Ride a Shooting Star,' for the closing theme.

In 2005 the Pillows performed in the United States for the first time at the South by Southwest music festival. Altogether they played six shows across the states, including New York and San Francisco at a Chicago anime convention that saw the group play to 4,000 people over two days. The U.S-released album My Foot followed in summer 2006 on the Geneon label, and their popularity overseas has led to tens of thousands of friends on their MySpace page. Domestically, the band switched to Avex Trax for the release of 2007's Wake Up! And the following year's Pied Piper. ~ David Hickey View on Apple Music • ORIGIN Hokkaido, Japan • GENRE • FORMED 1989.