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Asuka: Shinji, you suck. Shinji: Yeah? Well, let's see how you feel after I strangle you. Cue the light, happy jazz-pop!
"Should peppy music really accompany your film's darkest, most disturbing scene? I suppose if Tarantino did it, people would laud the ironic juxtaposition, but this is Coleman Francis. Anything that appears to be a glimmer of brilliance is always pure happenstance."
"It's toe-tappingly tragic!"
So you're a big-time Hollywood director. (Congrats on that, by the way.) You've got a dynamite action movie you're about to start shooting. It won't win you an Oscar, but hey, you've got two of those, and any way, your mortgage payments are becoming somewhat uncomfortable.
Keanu Reeves has signed on to be your hero/messiah figure, and Seth Green will be the annoying/lovable comic relief. Best of all, Scarlett Johansson has signed on to be the love interest. She won't do the simulated sex scene on page 42 of the script, but she's OK with frequent scenes in swimming pools.
There's just one problem: the movie is supposed to end with a bloody firefight, and your stupid conscience is acting up again. You went to the NYU film school, dammit, you can't just have 13 minutes of blood and bullets.
But wait. What if you overlay the horrific carnage with beautiful music? Then, you're not indulging your audience's bloodlust, you're making a deep philosophical point about the duality of human nature. What says, "Mankind is both glorious and murderous" better than a faceless mook getting shot in the head at close range while Schubert's "Ave Maria" plays in the background?
You're taking advantage of a tactic used countless times over the years to heighten the sadness of a scene. Your dissonant music doesn't have to be played over a violent scene, of course. Happy, upbeat music at a funeral of a beloved character can also work. It can be used to excellent effect, especially if the song is somewhat silly, but if you use "Ave Maria" (Schubert's version or Gounod's version) or Ode To Joy, you'll almost certainly degenerate into What Do You Mean Its Not Symbolic territory of the most generic kind. Handel's "Messiah", too. ( What've you been watching??)
Of course, it can work both ways as well. Inappropriate music can be often played for laughs; a sombre, portentious and important-sounding piece of music played over something utterly trivial happening on screen can increase the laughter. Similarly, a light and cheery pop song or sweet love ballad playing over an otherwise tense scene can be played for laughter, especially if the tension comes from something absurd that the characters are otherwise treating entirely seriously.
The Ode To Joy choral in the fourth movement of Beethoven's Symphony No. 9 is especially cursed to suffer from Soundtrack Dissonance due to its notorious use in Third Reich propaganda, hence modern usage is just as often due to this association as it is its original intent (to be absolutely clear, Beethoven's original lyrics were about the equality and brotherhood of all humankind. So Yeah).
Pretty much any anime with a happy Ending Theme will achieve this trope with its first serious Cliff Hanger, intentionally or otherwise. Same for a happy Opening Theme and any stressful teaser.
The entire process has been streamlined by the ability of some video game consoles to replace a game's soundtrack with anything the player cares to play. Try setting the most violent, obscene parts of Gears Of War to "Yakety Sax" sometime; your parents will search your mattress for drugs, but you'll be enriched by the experience. Unless, you know, you actually have drugs stashed in your mattress.
A common variety, covered by What Do You Mean Its Not Awesome, is using dramatic music to mundane events.
A subtrope of Mood Dissonance. Compare Lyrical Dissonance.
Examples:
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What A Wonderful World
- Almost no TV program or film has ever used Louis Armstrong's version of "What A Wonderful World" as anything but a cruel, mocking, and bitterly ironic counterpoint to the horrific action on screen.
- Michael Moore's Bowling For Columbine, which uses both Louis Armstrong's (in a sequence that ends with perfectly synchronized video of the attacks on the World Trade Center) and Joey Ramone's (over the credits) versions.
- Played by Adrian Cronauer, as portrayed by Robin Williams, on his radio show in Good Morning Vietnam; the song runs over a montage of troops fighting in the field, officers at base looking reflective (and for once content with his music choice), and a village being carpet bombed.
- The trailer for the film version of The Hitchhiker's Guide To The Galaxy. "What a wonderful..." Kablam!!!
- Hitchhiker's has a long history of abusing "What a Wonderful World." It replaced "Journey of the Sorcerer" as the music over the credits at the end of the first radio series, where Ford and Arthur, displaced in time, wonder at how beautiful the prehistoric Earth is, conscious that it'll be gone in two million years. The same scene appears in the TV adaptation, shifting into a readout on the Guide, floating through space, to explicitly remind us that in the show's "present", the Earth is destroyed.
- A long-running Irish road safety ad had this as its theme. Apparently, no-one told Renault, who a few years later put an upbeat version as the theme of one of their ads...
- Even anime gets in on the act here. The Whole Episode Flashback exploring Meia's tragic Back Story in the first season of Vandread featured this song extensively. Then they subvert Soundtrack Dissonance by playing it completely straight at the end of the episode. Turns out, it really is A Wonderful World.
- The Fan Vid "Satchmo's Lie
" combined "What a Wonderful World" and Neon Genesis Evangelion.
- Not even animated family films are immune. Madagascar uses it when Alex runs away after realizing that he might eat his friends. To hammer the point home, the others see a progression of cute little animals get eaten while the song plays. Wonderful world indeed.
- Spitting Image used a parody version called "We've Ruined the World", sung by a weeping puppet caricature of Armstrong. The lyrics would fit the original tune, but for legal reasons the show was forced to use a different one.
- 12 Monkeys used the song extensively in what is almost a subversion of the trope, to highlight the beauty of the soon-to-be-ruined world.
- The one-shot manga, Hotel used this song multiple times. While the world ended. And an A.I sat around for millions of years waiting for the humans to come back.
- The final episode of The Job used the Ramones version, over the discovery of a murdered old woman's body, among other things.
- The jazz-themed Japanese film Swing Girls uses the song over a montage of the girls being chased by bears in the forest.
- This Left 4 Dead fan video.
- Exceptions (straight uses):
- An episode of Moonlighting focused on the unborn child of Dave and Maddie being prepared for birth by his guardian angel. When asked why he should ever leave the womb for the big scary outside, the angel shows him a completely straight "Wonderful World" montage of all the good things to look forward to in life.
- In the 1998 live-action adoption of the beloved children's book series Madeline, this is played at the end just before the credits. Oooh Yeeaah. . .
- Was used as the first Opening Theme to Family Matters.
- A TV ad for Ratchet And Clank Future: Tools of Destruction had it playing while Ratchet is blasting the crap out of some Space Invaders as a bunch more are coming. Though, given the actual game, this is something that you do take lightly, so it's actually kinda appropriate.
- As mentioned above, Vandread both subverted it and played it straight.
- Used straight in "What is and What Should Never Be", Supernatural, when Dean is mowing for the first time in his life with a dorkily joyful look on his face.
- Scrubs presents an odd example in "My Butterfly". The first half of the episode had been a series of things going wrong, ending in a patient's death and time resetting itself. Near the end, a montage to this song underscores that this time, all those things have gone right... and then the patient dies anyway. However, it is an exception since the music only plays until the depressing part kicks in, then suddenly stops.
- An instrumental version is played during the birthday party for Mr. Parrish in Meet Joe Black. Parrish knows that he is going to die this evening but he has had a good, meaningful life and he spends his last hours with friends and family and the party is grand, the evening lovely... It's a Crowning Moment Of Heartwarming.
- The Ramones version is used normally in a Direc TV commercial.
- Similarly, Israel Kamakawiwoʻole's "Over the Rainbow/What a Wonderful World", likely the second most popular recording of either, is almost exclusively used for a Tear Jerker. To be fair, the song itself is one for many people since the musician's early death.
Close What A Wonderful World
Yakety Sax
- Watch anything at all with "Yakety Sax
" by Boots Randolph playing in the background. Gorefests, rape scenes, 9/11 footage, Armageddon; doesn't matter. I dare you not to laugh. Bonus points if clips are sped up to it.
- Behold, the BennyHillifier!
Just type any YouTube ID (the part following v=) into the box.
- One scene in AMV Hell 4 involves One Piece, Yackety Sax, and Scooby Dooby Doors. And a Sight Gag every second. It's every bit as hilarious as it sounds.
- Two Words, Hotel Rwanda. Your soul will darken as you try to restrain your laughter.
You Are My Sunshine
The song of DOOM! Whenever anyone sings this song, disaster follows. Tragic Spoilers follow.
- The Worlds Fastest Indian — After singing this song the Bert has a heart attack
- Angel — Fred sings this just before spitting blood
- Beaches — Sung in the final happy moments before the "Wind Beneath My Wings" Death Montage.
- The Muppets — Hugga Wugga blows off the yellow puppet's head for singing it.
- All My Children — Dixie Martin's song. It plays in the background when she dies.
- The Twilight Zone TOS episode "It's a Good Life". Dan Hollis sings a few bars of "You Are My Sunshine" at one of Anthony's "parties". One minute and 40 seconds later, Anthony turns him into a human jack-in-the-box and sends him to the cornfield. Watch it here: the song is at 0:45 and the punishment is at 2:25.
- Used to be used as the jingle for French's Mustard. To those of us who hate mustard, it'd be a disaster to use it...
- In The Return one character openly mocks the unfortunately named succubus, Sunshine, with this song. Pretty soon she is kidnapped, tortured, mindraped, transformed into a succubus herself and then eventually ends up being Sunshine's demonic daughter.
- I seem to recall an episode of Star Trek Voyager where The Doctor tries to help Seven of Nine improve her social skills, and one of the things he does is teach her this song. And things don't work well throughout the episode.
Close You Are My Sunshine
- Osamu Tezuka's Metropolis is famous for playing I Can't Stop Loving You at the climax. It worked wonders.
- As Stella dies in Shinn's arms in Gundam SEED Destiny, the typical happy, semi-romantic country music end theme starts up, growing more upbeat as Shinn begins sobbing, and cutting to the credits just as Shinn lets loose a rather convincing scream of pure, inarticulate rage and grief. The credits, of course, are shown over a pleasant, pastoral scene apparently depicting an Elseworld where everyone in the cast is alive and together with loved ones... This writer cried. Profusely.
- The lyrics to the song
themselves qualify as Lyrical Dissonance; the climax goes "Is it really okay?/It's never going to be".
- Also note that the climactic arc of the series was prefaced by the mind-boggling new opening song: The Earth, Wind & Fire-inspired "Wings of Words."
- Any time Shinn attacks in Super Robot Wars K. His BGM is Zips, a light, energetic mecha opening that plays away while he goes all angsty-berserker on whatever poor sap you've sicced him on.
- Similarly, an episode of Neon Genesis Evangelion ends on a blood-curdling shriek of horror, desperation, no small amount of fury... and promptly cuts, as every episode does, into a cover version of "Fly Me To The Moon." The effect is disastrous, but intentionally so: The ending music was always rather out of place, and becomes ever more ironic as the show turns darker.
- Special mention goes to the scene where Asuka gets mind raped by an angel with the Hallelujah chorus playing in the background. Whether they did it intentionally or just because it's Ominous Latin Chanting, is unknown.
- The fourth movement to Beethoven's Ninth Symphony plays while Kaworu begs Shinji to kill him. Whatever relevance the lyrics may have to Shinji's fighting on behalf of all mankind, they are anything but applicable to Shinji himself.
- Actually, I think more thought went into this than most people give it credit for. The lyrics serve as something of a de facto motto for SEELE (as demonstrated by Rebuild, in which an excerpt from the poem is NOW PART OF THEIR LOGO), and the themes of fate and divine deliverance also help to frame Kaworu's mentality. Interestingly, voice actor and Eva enthusiast Taliesin Jaffe, in the commentary for the first movie, reports watching this scene with a room full of people well-versed in mysticism and the occult, and apparently as soon as the music started they all knew immediately how that sequence was going to end. Just something to think about.
- Then there's Komm, Süßer Tod's use in The Movie, (referenced at the top of the page,) another example of Soundtrack Dissonance using a song with Lyrical Dissonance.
- Not to mention the fact that it is, to some extent, a sound alike of "Hey Jude", which is not exactly known for being a depressing song.
- The first verse: I know, I know I've let you down/I've been a fool to myself/I thought that I could live for no one else/And now/Through all the hurt and pain/Its time for me to respect/The ones who love me more than anything/So with sadness in my heart/I feel the best thing I could do/Is end it all and leave forever/What's done is done, I feel so bad/What once was happy, now is sad/I'll never love again/My world is ending Imagine that set to The Jimmy Hart Version of "Hey Jude".
- Really... even the opening music seems sickeningly sweet when contrasted to what follows in pretty much every episode.
- Probably the best example is the use of Bach's Air on a G string during the battle against the MP Evas. Also a Crowning Moment Of Awesome for one of the characters.
- That last part is arguable. I still found it pretty horrifying.
- Another, less obvious example is the use of Pachelbel's "Canon in D" for the (absolutely beautiful) credits sequence of Evangelion: Death. So you've just gone over the important events of the series one last time, you've had a few more hints dropped your way, and more importantly, you know that the next thing you'll be watching is the big finale. Even if you're not yet aware of just how much High Octane Nightmare Fuel you're in for, you know that, as far as the plot is concerned, Shinji and co. have already passed the point of no return. The overriding feeling as you watch a beautiful sunset over a ruined landscape while listening to this exquisite piece of music can only be described as deep, penetrating foreboding. You know the end is nigh.
- And of course, the (in)famous DVD menu
for End of Evangelion adds another example of this trope, this time using "Jesu, Joy of Man's Desiring" (which is actually used in the film for *gasp* generally NON-ironic effect).
- Really, this series is utterly in love with this trope. From the examples listed above, to the heavy use of jazz, soft rock and J-pop in the soundtrack, at least half the music in the series stands in direct contrast to the dark and twisted machinations of the plot. Just listen to Shiro Sagisu's Thanatos, either the original or the vocal version used in Eo E. Nice, jazzy song, right? Well, "Thanatos" = "DEATH". There. That pretty much summarizes the mood of the entire soundtrack.
- In Rebuild 2.0, as the Dummy Plug controlled Eva 01 violently destroys the Angel possessed Eva 03, piloted by Asuka in this version, a delightfully cheery song starts playing, sung by a children`s choir. It made this scene even more of a Tear Jerker than it already was.
- The jarringly up-beat and low-fi, diegetic pop music in the second chapter of Five Centimeters Per Second to be an affront to the Scenery Porn and the lovely soundtrack. One song piped in to the convenience store crows "daijobu da yo (It's all right)" while Kaene suffers her unrequited love in silence. In another case Kaene on her bike is passed by her sister blasting similarly upbeat and indelicate tunes. This seems to be a mordant joke about the interference of the modern world with even the potential solace of Scenery Porn in the midst of disappointment. The sonic environment is being destroyed.
- The third chapter, on the other hand, shows the protagonist browsing magazine racks with "One More Time, One More Chance" playing in the convenience store. Later the song moves from diegetic sound to the extradiegetic soundtrack: the effect is, at least meant to be, cathartic.
- One of the original Bubblegum Crisis OVA episodes closes out at a graveyard, with a wide shot of many gravestones and mourners... then immediately kicks in the upbeat '80s anime pop music. Not quite putting The Fun In Funeral, but...
- BGC is a repeat offender. In fact, whenever you hear some upbeat song, something dramatic is gonna happen. Just look at the scene where Priss' friend was killed and she's gearing up for some serious ass-kicking... despite the Knight Sabers explicit ban on personal revenge. Other Sabers show up just in time to make it a team mission.
- On the other hand, Kizudarake no Wild, the song in question, has the almost supernaturally fitting lyrics, neatly averting Lyrical Dissonance. It's just that BGC in general has a preppy 80'es glam rock as its main soundrack.
- Bokurano's second closing theme has a fairly upbeat sound with depressing lyrics, while the animation that goes with it depicts most of the dead or soon to be dead kids smiling, holding hands amongst the stars.
- In Divergence Eve, the series is extremely creepy and dramatic, and sometimes the episodes end with horrible, horrible scenes... yet the end credits are an incredibly peppy J-Pop tune to pictures of the main character in incredibly Fanservicey outfits and revealing poses. It's akin to replacing the ending credits of Schindler's List with The Powerpuff Girls.
- The Soul Society arc episodes of Bleach features the main characters being stabbed, cut up and bloodied. Then the credits are fun scenes with the song "Happy People".
- Even more jarring example from earlier in the same arc: One episode ends with Momo, Captain Aizen's lieutenant, seeing Aizen's impaled corpse stuck to a building, and the last line in the episode is her screaming his name at the top of her lungs. Cut to the closing credits, set to a peppy, upbeat tune. Each of the credit reels for that song featured a different pair of shinigami; this one uses the dead guy and the person who was screaming ten seconds ago...
- The 13th ending theme is the happy-sounding "Tane wo Maku Hibi", a song whose video shows Ichigo's family happily frolicking. Except that ending starts off the Hueco Mundo arc, which may well be the most violent one yet.
- It keeps on rolling with ending 14, "Kansha", where the singer is singing about how thankful he is for his friends, and whose video is happy. Still the same arc.
- Wasn't "Kansha" sung by a woman?
- At the end of Osamu Tezuka's Metropolis, Rock blows up the Ziggurat as Kenichi struggles to save the power-dizzy Tima. Ray Charles's "I Can't Stop Lovin' You" plays instead of sound effects. This editor wept. Her father did, too. This
clip is from the Spanish dub, but it'll give you the picture.
- The original Japanese version of the film (with English Dub) can be found here
for those curious. It also bears mentioning that, while the mood of the song is an excellent example of the trope, the song may also be somewhat applicable under Lyrical Dissonance, as Ray Charles is cheerfully describing that he has decided to refuse to move on, and will instead live in an escapist fantasy in lieu of reality: interesting, considering that both of the antagonists in the movie are motivated primarily by a refusal to let go of people they love, but don't/can't love them back. Which only makes the final effect of the trope more pronounced.
- In another Tezuka example, the 1980s Astro Boy anime had a few moments like this. The scene where Atlas first appears after his upgrade and massacres a squad of policemen is set to a rather upbeat, almost triumphant piece of classical music, probably to symbolize Atlas' view of himself as a hero, defending robotkind from the evils of humanity.
- Variation: The non-canonical and deliberately poorly animated Omake of the .hack series, .hack//GIFT, plays the anime's dramatic and haunting music during scenes of slap-stick comedy.
- As Mai-HiME has an overly optimistic and light-hearted opening, as well as the practice of ending nearly every episode either with a Cliff Hanger or at least on the most dramatic note, it just begs for Soundtrack Dissonance. Add the show's fondness for The Teaser, and you know the drill. A character is shown to have been quite unambiguously stomped into the dirt and rolled over with a road-roller; there are multiple battles between former friends going all over the place, and there has just been an explosion somewhere. Cut to the opening credits, with its shots of the blue sky with seagulls, characters glomping each other and smiling, and most unbearably, the upbeat "Shining Days". Aaah!
- When Kafuka Fuura of Sayonara Zetsubou Sensei offers her ridiculously positive point of view on a decidedly dismal situation, the negative imagery is accompanied by her serene theme or other cheerful music. For example, her memories of her mother's demonic possession are paired with an upbeat accordion waltz.
- And then in the second season, the time when Itoshiki-sensei tries to hang himself (again, surprise surprise...) while Happy Birthday To You plays in the background.
- Elfen Lied also has a rather upbeat ending theme and a tendency to end episodes on a Cliff Hanger, or at least by showing us something unpleasant, and cue upbeat j-pop song. The naked, fetal-positioned Lucy/Nyu doesn't make it any less disconcerting at all.
- While the openings and endings in Death Note fit the mood of the series, a clear example of Soundtrack Dissonance appears in one episode, where Misa walks through Tokyo singing gently, with the lyrics in sharp contrast to the continuous shots of people dying from her writing their names down.
- Downer Endings sometimes get a separate Ending Theme just to avoid this, but when they don't... well, if knowing about the upcoming sequel series didn't spoil the effect of Futari Wa Pretty Cure's Downer Ending for you, the sudden cut to "LET'S GO! GET YOU! L! O! V! E! LOVE! LOVE! GET YOU!" probably did.
- Yes! Precure 5's Bittersweet Ending suffered in exactly the same way.
- In Fresh Pretty Cure, during episode 20 after winning the second battle against Eas's Nakisakebe, the girls faint from the exhertion of the battle and dance training finally taking a toll on them. The episode ends with them being taken to the hospital. Cue the fluffy, upbeat ending theme "You Make me Happy".
- The light, happy bubblegum J-pop tune "Ai No Tenshi" underscores the gruesome carnage in Perfect Blue.
- Despite its gradual progression into more depressing territory, Code Geass managed to avert this trope for most of its run. By the time most of the sadder episodes hit, the Ending Theme is a slow song with sad but hopeful lyrics.
- It seems to fall into it at the season finale, where they play the peppy, upbeat original opening theme as an ending, but the director has said that the song is meant to be encouraging for the protagonist. Additionally, after the credits is a scene where the Mysterious Waif gives a hopeful soliloquy as an insert song that matches her mood plays in the background.
- The second season's final opening theme basically mocks Lelouch toward the end of the season, with cheery music and lyrics mentioning how "kindness can't heal everything" and "everything is bright" playing over a montage of all the characters on both sides with smiles on their faces, including several beloved characters who have betrayed Lelouch, as well as one cheerful-looking unrepentant murderer, or people who are currently dead. Yeah, "everything is bright" indeed.
- The director seems to be aware of this much, implying in the single's booklet that he intentionally wanted to make the characters smile in the opening, at least, even if they were facing a troubled, sad fate.
- You think the original ending song was peppy and upbeat? Music-wise, sure, but with lyrics like, "Even if my body is sullied, my chastity muddied/Please believe in the brocade of my spirit"......yeah.
- In the Grand Finale for R2, when Lelouch dies, possibly some of the happiest, prettiest music in the series plays as his little sister begs for him to open his eyes, then cries over his dead body.
- But then, it's supposed to be a happy ending. Go figure that out.
- The soundtrack shows how the rest of the world reacts, given that he was seen as a bad guy by most of the world at the time.
- Mai-Otome follows the above examples, yet at the same time subverts it. The series' major Wham Episode ends with Erstin dead, Nina deranged, Arika angry, and an explosion appearing over Garderobe. The Ending Theme plays its "Mellow Version". That is to say the beginning of the song is slower and more melancholy...then goes right into the usual pop music and continues with Arika running across a field of stars.
- In Cowboy Bebop, the seamless blending of Jazz and sci-fi action-drama elements was the entire premise of the anime.
- In Welcome To The NHK, the main character goes on a wild, disturbing hallucinatory fantasy with his neighbor blasting a sickeningly cute anime theme song in the background. Eventually the vocals alone accompany his visions, with an effect similar to an Ironic Nursery Rhyme.
- Neither of Sailor Moon's opening songs go well with the seasons' final episodes, which are always dark. Especially disturbing in episodes that have a recap of some dramatic event before the opening sequence. Eyecatchers also provide a similar effect, particularly in Sailor Stars.
- In fact, many Magical Girl anime series with typical love-themed soundtracks suffer from this when it comes to the multi-episode final fights. Tokyo Mew Mew, with its two extremely cheerful theme songs, is a good example. Pretear, while cutting the opening theme in the final two episodes, keeps the ending — in episode 12, it comes up right after Sasame sacrifices himself to save Takako, and even though it is slower than the opening, it still doesn't fit the mood.
- I'd disagree with "Sailor Star Song" not matching the final episodes of Sailor Stars. If Sailor Moon didn't remain optimistic in the face of chaos, she'd cease to be Sailor Moon.
- Black Lagoon puts "The World of Midnight", a beautifully sung ballade, right on top of the fade-out of a scene where a young boy has just bled to death on the ground after having had his hand shot off. The song is reused during the ending credits just after his sister is shot in the head on-screen, killing her in an an almost as gruesome a manner. The fact doesn't get better by the fact that, considering just how badly they had been messed up by what they had lived through, this was probably the best thing that could happen to them.
- Eureka Seven has this, too, cutting to the happy, upbeat Fly Away immediately after Renton brutally slaughters an army of enemy units, only realizing that he had been killing human pilots when he discovers a bloody, severed arm stuck to his mech's fist.
- A bloody, severed arm with a wedding ring on its finger.
- The English dub of Yu-Gi-Oh GX suffers from this with it's opening theme. The happy rock song about school and card games may have worked in the first season, but in the third season when characters are trapped in another world and are 'being sent to the stars' almost every episode, the opening jars so much.
- There is also the Fourth Season duel between Yami and Weevil in the Japansese version where heroic music starts playing as Yami wins. One problem. Yami is using his monster to beat the everlasting Shit out of Weavil again and again even after Weevil's life points have hit zero in revenge for playing a cruel prank on him'.
- Narutaru has one of the more unsettling instances of this trope in the opening. The song is an upbeat tune, played to a variety of images that looked drawn by little kids. It seems cute enough
. Then watch the first few episodes. The cute opening suddenly becomes a major point of Mood Whiplash...
- You think comparing the OP to the first few episodes is bad? Try comparing it to the last few, which place such events as Hiroko's kidnapping into frightening context. Or even worse, compare the OP to later volumes of the original manga...
- That only goes for the tune and images, though. The lyrics to the song seem to be about someone waiting for a person who will never come — how that relates to the series' story is up to the audience, but it's a far cry from cheery.
- Steam Detectives has Amazing Grace play during particularly poignant scenes where somebody falls from a high place, speaks their last, or an epic fight at the top of someplace high.
- So far down the list, without mention of Super Dimension Fortress Macross? In The Movie, Super Dimension Fortress Macross: Do You Remember Love, the entire final battle
is set to the titular song, a soft and melodic love ballad supposedly taken from the ruins of a Protoculture outpost discovered by the Macross. It is one of the most iconic scenes in anime history, contrasting the message of the song with images of space warfare, swarms of beams and missiles flying everywhere, and, more particularly, Hikaru's final assault into Boddol Zer's inner sanctum. On the one hand, all of this drives home how the allied forces are fighting for the survival of "culture" —that is, the unique feelings and emotions that can create such a song in the first place— but then the audience is treated to a man being beheaded messily and graphically by falling debris, and the dissonance sets in.
- Macross Frontier also uses the titular song from the movie in slow ballad form — for an inverted purpose, sung by Ranka Lee under the influence of Grace O'Connor to counteract Sheryl Nome and turn the Vajra back against the Frontier fleet. This results in the perception of betrayal on the part of the protagonists and causes classic Macross Wholesale RedShirt Slaughter. Later in the battle after Ranka is freed, the song comes up again in quick form as one of the many mixed with Lion ... not to mention how nearly every song in every Macross series has to do with love somehow, and are often used as backdrops and/or weapons in combat.
- The 12th opening of One Piece sounds more like something one would hear from a bubbly high school romance/comedy than an epic adventure show. Even more jarring is the fact that the arc it's played for is about Luffy infiltrating a prison to save his brother from execution.
- In one of the last episodes of Black Cat, Saya's song is played over scenes of Creed being abused as a child.
- Keroro Gunsou subverts this with most of its opening and ending songs. While they may sound like martial anthems and typical shounen pop, the lyrics are usually about failing at household chores and being lazy. The sheer upbeat attitude shoots it right into What Do You Mean Its Not Awesome.
- Averted in Full Metal Alchemist. Most of the songs attached to the ending credits are really cheery. When Maes Hughes dies, his funeral and the appropriate dirge are played instead.
- Played straight after Nina's death. The ending music is the same, the images however changed to show the dead character being cute and adorable.
- The new animation, however, manages to make the upbeat music seem rather poignant.
- There is Bratja though. This beautiful quiet music, whose lyrics are partly sung by a choral of children, is almost always played during a scene of massive destruction. But the lyrics (in Russian) are completely in harmony with the events of the anime.
- In Tengen Toppa Gurren Lagann Kamina's death at the end of episode eight suddenly cuts to the quite upbeat closing song.
- Made even worse by what Simon says: "That day, we lost something that could never be replaced." Manly Tears are flowing and, CUE J-POP
- And the Bittersweet Ending of the whole series cuts to the ever more upbeat second closing song. Luckily, the Distant Finale had much more fitting music.
- Detective Conan likes to occasionally end episodes with people sobbing with regret for their actions... and then launches right into the lighthearted rock ending song.
- Arguably, the second Strawberry Panic ED. Just as the series is taking a turn for the dramatic the original ED is replaced by a very happy go lucky song filled with Les Yay overtones in which the singers are two dimensional paper dolls in several colourful settings. At one point the contrast is nothing short of appalling, after Nagisa breaks down crying in a very emotional moment the episode comes to an end with her sobbing and then Extreme Sugariness follows
.
- Simoun has a light-hearted accordion piece that likes to play every single time that the titular [[{{}} lesbian-powered airplanes]] draw a particularly effective Ri Maajon in the sky. This normally wouldn't be so bad except that, since they're at war, the prayers are usually "BLOW THE S*** UP NOW." Also, they played it when one of the main characters (a teenager girl) is busy cutting the cold dead fingers of an enemy pilot loose from her simoun, which he had died trying to hijack. He even apologized to them beforehand, and was shown to have a sympathetic background. Hell the main character got blood in her eye and yelled at her even younger partner to hide while she was cutting the dude's fingers off.
- The Starship Troopers OVA mixes peppy, cheesy 80's music with two separate bar brawls, amongst other things.
- The opening song of Xamd Lost Memories involves a heavy rock song descriptively titled "Shut up and Explode" accompanying many explosions, while implying that the series is all about fighting monsters with the power of xam'd. The series itself is pretty melancholy, and focuses much more on setting and characters than combat.
- In Darker Than Black, the "Now I've lost it I know I can kill" intro generally fits the show, despite the intentional irony in the lyrics.. But after sitting through an episode of the usual DtB action, the calm, relaxing, romantic closing song that plays as the credits scroll over a picture of Yin sitting in a field of flowers make it seem more like a minefield.
- Scrapped Princess keeps the same upbeat sound for the commercial break bumpers as the series itself becomes more and more serious/dramatic — by about 2/3 of the way through, This Troper 's anime club would go into uncontrollable laughter at the sheer inappropriateness whenever it played.
- In its original version, the first Digimon movie set a fight scene between kaiju to the tune of Boléro
, a ballet piece.
- The opening theme of Mahoromatic has your sweet music and female vocalist typical of a seinen series. The dissonance comes when it intersperses scenes of chibi Mahoro doing maid stuff and cast shots of her happy friends, with scenes of her dodging missiles and blasting stuff with her big fraggin' pistol.
- Touka Gettan, episode 3. Touka having sex with Yumiko, his mother. With a cheery salsa tune as background music.
- Pokemon of all things has this in its ending credits for the tenth movie. The Japanese ending, rather than the typical J-pop used in the series, is a love ballad in the style of "My Heart Will Go On" from Titanic, over a cheery ending montage. This is extremely odd, especially given that Everybody Lives, and thus the only couple the song applies to are of different species, if the internet is to be believed.
- The English dub of the first movie has a light, undramatic vocal song play wile the regular and clone Pokeomn are fighting each other to the death.
- Toward The Terra features this with its first ending, the beginning of which is a cheery piano piece based on Canon. This part is played over scenes of characters dying and/or angsting several times.
- Even the Dragonball series is victim to this, something tense or actiony happens, and in some cases some dies right before the end credits, and even when the episode ends on a sad note, the lighthearted endings of the
three respective series play after the episode ends
- And this happens
numerous times in Magic Knight Rayearth
- In the "Stinkbomb" segment of Otomo Katsuhiro's Memories, peppy jazz music accompanies the darkly humorous tale of a young man who unwittingly becomes a living bioweapon as the Japanese SDF ineptly tries to stop him.
- In Toradora, what song is playing after Taiga cries as she realizes she loves Ryuji, who she just sent to be with her friend, said friend seeing this and deciding she couldn't have him either and then rejecting Ryuji while Ami is left unable to express herself, leaving all four miserable and alone on Christmas? A happy Christmas song song about togetherness and not being lonely, of course.
- Brigadoon: Marin and Melan has a very upbeat, cheery outro, but a fair number of the episodes end on heart-wrenching cliffhangers. This can be rather disorienting, especially towards the end of the series when many of the characters have either been brainwashed, killed off, or brutally beaten. The final episode, thankfully, has a different and very appropriate ending theme.
- The anime version of Les Miserables has the dramatic deaths of Les Amis d'ABC at the barricade set to a sparkly J-popish song.
- In any given episode, there's about a 50/50 chance that Guyver's relaxing end theme
will be playing moments after a bloody dismemberment.
- The ending theme of Trigun is slow and methodical, and fits the shown scene of Vash walking what appears to be the desert ruins of a town... but then it falls into this when the rest of the images are all innocuous things like Vash eating lunch. Interestingly, the version that aired on Adult Swim avoided this by editing it so that only the appropriate initial image is shown in a continuous loop.
- There were also scenes near the series' end that depicted numerous dead bodies overlayed with a pleasant-sounding slide guitar riff
- The opening song to Bokusatsu Tenshi Dokuro Chan fits this to a T. A little girl singing gleefully with images of her torturing a young boy various ways playing throughout.
- The theme song for
Hell Girl. Ignoring the dark introduction, would you believe this is a show about condemning people to hell?
- All of the Hellsing OVAs have different ending themes. After OVA 4, right after the viewer is treated to the... ahem, pleasant sight of Alucard devouring Rip Van Winkle alive, we are treated to this
ending theme.
- I was watching Sword Of The Stranger recently and I noticed that the scenes where things seemed the most hopeless were the ones accompanied by the most triumphant music, which had the interesting effect of preluding whatever Bad Ass thing the hero was about to pull to make things right again.
- Revolutionary Girl Utena makes use of these fairly often, sometimes dramatic, sometimes...um, surreal. For instance, the soundtrack becomes beautiful opera—while in the foreground cow-Nanami charges at a red sweater held by Utena. Yeah, it's that kind of episode.
- Ironic that nobody has yet mentioned Akira or the original Ghost In The Shell movie (or its sequel). These were among the first and most iconic anime examples of this trope, and yet both have become so well-known that anime fans who have seen them a thousand times rarely give them a second thought. In both films (and respective soundtracks), technology-centric futures awash with heavy machinery and moral decadence are accompanied by unconventional soundtracks that heavily incorporate traditional East Asian instruments, spiritual chanting, and ancient Buddhist and Shinto prayers into their soundtracks.
- Alien Nine, most prominently with the bright, upbeat opening theme.
- Umineko No Naku Koro Ni has some of the absolute most beautiful music in all of anime. However, that means that you have songs like this
playing during scenes with so much Nightmare Fuel Unleaded and Gorn that the Japanese TV networks had to censor them. How well this works within the show varies both between examples and between viewers.
- Episode 24 of Planetes take the "episode's ending clashes with sudden shift to closing song" utterly Beyond The Impossible: Tanabe is on the surface of the moon trying to carry Claire with her to safety, even after her knees start to experience immense pain, sure that something she's for someone else has to end well. However, her air starts running out when she's still 10km from a nearby city, but she refuses to take Claire's oxygen, even though Claire says she wants to die to redeem herself. But as she begins suffocating to death, every painful memory of people's lives cut short in spite of her beliefs flash before her eyes, and she really seems ready to take the life for her own. She desperately starts taking out Claire's oxygen tank—WONDERFUL LIFE
HIJACK!
- Film composer Henry Mancini discusses this trope in his autobiography, referring to it as "playing against the scene."
- "In heaven, everything is fine. In heaven, everything is fine. You've got your good things, and I've got mine..."
- Lampshaded twice in Shaun Of The Dead, as the jukebox in the pub starts up and plays an unwanted song at the worst possible moment — a depressing love song as the protagonist ponders the loss of his girlfriend, and Queen's chirpy "Don't Stop Me Now" as the characters are under deadly threat. The characters take note both times.
- Writer and star of the movie Simon Pegg explained the latter scene came about purely because they "thought it would be funny to have 4 people beat an old man to death to the tune of Queen's 'Don't Stop Me Now'."
- This seems to be fairly common in older live-action Japanese movies as well. The Japanese version of Godzilla 1985 features a pop song over the ending credits.
- An even more egregious example can be found in The Legend of the Dinosaurs, which has an equally inane love song playing over the film's climax, which involves the film's heroes being burned to death by molten lava.
- At the end of Dr Strangelove, or: How I Learned To Stop Worrying And Love The Bomb, the doomsday switches have been flipped and mushroom clouds are erupting, all to the tune of the optimistic "We'll Meet Again." This was no accident; the entire movie is satire, so why not the closing montage?
- Plus, "We'll Meet Again" was often played to boost morale during World War II, and this sequence demonstrates that things won't be quite the same during World War III.
- Though the fact it's about soldiers going off to war and hoping to see their loved ones again when about 14 million soldiers died on the Allied side, where do you think they'll meet?
- Which is what the song "Vera" from The Wall is about — the singer sarcastically muses about what "We'll Meet Again" actually means.
- Don't forget the opening credits — a lush arrangement of "Try a Little Tenderness" turns military footage of a B-52 aerial refueling into soft-core porn.
- Quest For Camelot overlays a terrifying chase scene with the soft, loving voice of Celine Dion singing "The Prayer".
- There are two instances of this in the fourth Harry Potter movie: first in the Forbidden Forest, when Harry's friends sing the cheerful Hogwarts school song in the background while an ominous score plays and Harry discovers the body of Barty Crouch, Sr. The scene is recalled later after Harry returns from the Little Hangleton graveyard and the scene of Voldemort's return to the sound of a cheering Hogwarts crowd and the band playing the bouncy, brassy, fully-orchestrated version of the song.
- Quentin Tarantino's Reservoir Dogs has two such instances: the use of "Stuck in the Middle With You" by Stealer's Wheel for the infamous scene where Mr. Blonde tortures a cop, and the use of Harry Nilsson's "Coconut" in the closing credits immediately following the bloody finale where just about everybody dies. The scene was intended by Tarantino as an homage to Stanley Kubrick's A Clockwork Orange, in which the protagonist sings "Singin' In The Rain" while beating the crap out of an old man whose home he's just invaded.
- Speaking of Tarantino, for Pulp Fiction, he originally wanted to use The Knack's "My Sharona" during the scene when Butch decided to rescue Marsellus as he was beaten and raped by the pawn shop clerk and his security guard friend. He felt that the song had a "good sodomy beat to it". Since the song was already licensed to "Reality Bites", Tarantino used "Comanche" by The Revels.
- A particularly violent shootout in Coen Brothers' Miller's Crossing is set to the somber love-song "Danny Boy".
- John Woo's Face Off, where the song "Somewhere Over The Rainbow" plays during a silent gunfight.
- "Que Sera Sera" was written for Alfred Hitchcock's The Man Who Knew Too Much remake; its upbeat tune and lyrics were intended as an ironic counterpoint to a story about kidnapping.
- The Proposition opens with a small child singing a song called "Happy Land" while old-timey family photographs fly by. Some of the photos are of burnt-out houses, and labeled "The Site of the Hopkins Massacre". When the music stops, we are then plunged into the middle of a vicious gunfight.
- Another example from The Proposition is the calm, melancholy "Peggy Gordon", which is sung while a character is being brutally flogged. It is also sung again at the climax, when a rape is occurring. In fact, it's sung by the rapist.
- Invasion Of The Body Snatchers (1978) has Amazing Grace (the bagpipe version) playing when Donald Sutherland finds the pods being loaded onto a cargo ship. Amazing Grace was playing just to lure humans to the ship.
- And let's not forget the basement scene in The Evil Dead, with the cheerful jazz music and the bleeding lightbulb and slide projector.
- Turned all around as early as 1932's Freaks, whose title card is accompanied by some deeply chilling, Circus Of Fear type music and stylized, nightmarish images of most of the titular characters. Yet the majority of the film's one-hour run time is spent with them just hanging out, and it's pretty much a Sit Com with a mostly-deformed cast... up to the point that the freaks start stalking a woman who married one of their own for money and then tried to murder him. That scene, however, had no music.
- In the trailer for the video game movie Hitman, the titular character is shown killing large numbers of Mooks... while Schubert's "Ave Maria" plays in the background.
- Something similar happens in the ending of Hitman: Blood Money, when the title character kills everyone attending his own funeral, including the bastard who set him up.
- The trailer for the Death Note live-action film has the Red Hot Chili Peppers' "Dani California" in the background.
- Uwe Boll, unsurprisingly, seems fond of this. For example, the sex scene in Alone In The Dark has a song about slavery and torture in Africa as background. This may be more of a case of Isnt It Ironic, though.
- Battle Royale. Students killing each other left and right... to the accompaniment of various soothing classical pieces played over a loudspeaker on the island on which they're fighting.
- Blue Velvet.
- In the adaptation of Mike Mignola's Hellboy, directed by Guillermo Del Toro, Hellboy's father-figure resigns himself to his murder while "We'll Meet Again" plays on a phonograph across the room, in a shoutout to the above Strangelove.
- A Clockwork Orange features a number of examples, including several scenes of violence set to beautiful classical music. Most notably, however, is the home invasion and rape set to Alex's performance of "Singing in the Rain." The song was chosen simply because Malcolm Mc Dowell knew all the words offhand.
- And Die Hard famously uses "Ode to Joy" as the villain's theme song. That song doesn't fare much better than "What a Wonderful World".
- In Schindler's List, a Nazi plays Mozart on the piano while the other SS members are massacring the Krakow Ghetto.
- The opening credits for the 2006 version of The Hills Have Eyes play the song "More And More" over nuclear testings and photos of deformed children. (Although the deforming had actually been caused by Agent Orange.)
- We can count also the Baddies' Theme from the original The Last House On The Left which was peppy and cheery playing over the baddies taking Mari and Phyllis away to abuse and murder them. Of course, given that the lyrics of said peppy song say let's have some fun with those two little children and off them as soon as we're done it can be also regarded as Lyrical Dissonance.
- Fear and Loathing in Las Vegas opens with file footage of various unpleasant incidents from the '60s while "My Favorite Things" from The Sound Of Music plays. The off-kilter effect suits a movie about a massive drug trip rather well.
- The original trailer for Blade Runner featured prominent use of "If I Didn't Care" by the Ink Spots. The song quite blatantly clashes with the imagery.
- A case could be made for The Third Man, with its happy zither music.
- In American Psycho, Serial Killer Patrick Bateman commits an axe murder to the tune of "Hip to be Square" while commenting on the appropriateness of the music to '80s culture.
- In the novel, he's humming a tune of a TV show that he watched as a child (he can't remember what it was), while making a sausage out of the body of a woman he just killed.
- A (fan-made?) trailer that can be found on You Tube for the film American Psycho uses The Beach Boys' optimistic song Wouldn't It Be Nice (a song about two young lovers wanting to get married) to some pretty brutal and bloody clips. So Yeah...
- The Silence Of The Lambs has a few of these, including Buffalo Bill's disturbing dance to the tune of "Goodbye Horses" while his victim screams in the background, and Hannibal killing and cannibalizing two guards while wistfully listening to Bach's "Goldberg Variations".
- Kill Bill. The Bride slices up the Crazy 88 to jazz and J-pop.
- And, conversely, having O-Ren and The Bride square off against each other to the incredibly loud and energetic "Don't Let Me Be Misunderstood", only to have it stop immediately when first blood is drawn.
- Happiness is the king of this trope, playing upbeat jazzy music/happily melodramatic music to scenes involving mass murder, ejaculation, and pedophilia. Of course, this is to be expected of such a disturbing black comedy.
- Director Cameron Crowe does this a lot. Examples that come to mind include Almost Famous, in which Stevie Wonder's "Ma Cherie Amour" plays while the protagonist's love interest overdoses in a hotel bathroom. In Vanilla Sky, Todd Rundgren's breakup anthem "Can We Still Be Friends" plays after the main character has killed his lover, or her duplicitous double, or something, and the Beach Boys' "Good Vibrations" booms out awesomely as his mind starts to unravel and he sort of starts to figure out how very wrong he is about everything.
- Monty Python's Life Of Brian features the Crucifixion, with all the crucified singing Eric Idle's "Always Look On The Bright Side Of Life".
- When Graham Chapman died in 1989, the five remaining members of Monty Python reunited at his funeral to sing "Always Look On The Bright Side Of Life" after John Cleese's eulogy ("Graham Chapman is an ex-Python. He has ceased to be.") In 2005, a survey by Music Choice showed that it was the third most popular song Britons would like played at their funerals.
- Monty Python is quite good for this. For example, in The Meaning Of Life, where "The Galaxy Song", a cheery, happy-go-lucky tune with vaguely upbeat lyrics about the wondrous vastness of the universe that ends on a big downer ("pray that there's intelligent life somewhere up in space, cause there's bugger all down here on Earth"), plays after a scene wherein a man has his organs harvested while he's still alive. Immediately after the song finishes, the wife agrees to undergo the process herself.
- In The Night Of The Hunter, the truly nightmarish villain goes around singing gospel. There's also a scary montage of the children traveling downriver with a lullaby in the background.
- After the Tear Jerker ending of The World According To Garp (Garp gets shot and dies), they could have just run the ending credits in silence after the appropriate "There Will Never Be Another You". No, they had to reuse the bouncy "When I'm Sixty-Four" from the opening credits. This may have been on purpose, though. It certainly turned that song into a Tear Jerker.
- Confessions Of A Dangerous Mind has a scene of Chuck Barris doing his CIA work... with a hilarious "If I Had a Hammer" rendition in the background.
- Needful Things couples this with Sorry I Left The BGM On. Two characters hack and slash at each other in typically King gore fashion to the tune of Ave Maria. It then cuts to the movie's antagonist listening to a record of this song.
- National Lampoon's Christmas Vacation. Okay, it's a comedy, but the juxtaposition of the bright and cheerful Here Comes Santa Claus with the images of SWAT teams surrounding the Griswold residence is a classic example of using this trope for deliberate humorous effect.
- In the Mystery Science Theater 3000 featured film The Crawling Hand, our hero, possessed by something from an arm that fell from space, strangles the malt shop owner nearly to death while "The Bird's The Word" plays.
- In House, Betty Everett's "You're No Good" plays while Roger chops up the corpse of a witch and buries her in the backyard.
- Partially subverted in the end of On Her Majestys Secret Service, which features Bond cradling his dead wife in his arms. We immediately cut to the Closing Credits as the normally upbeat James Bond theme plays... but it's a version of the theme that sounds brittle and almost manic.
- In the film version of Silent Hill, the heroine finds herself surrounded by screeching burnt baby things, and they're slowly advancing on her...and she's trapped in a back-alley. She collapses, and then wakes up, babies gone, with Johnny Cash's "Ring of Fire" playing on a jukebox nearby.
- In the Outkast musical Idlewild, the song "Happy Days Are Here Again" plays over a radio in a garage while Rooster watches Deceptive Disciple Trumpy off Spats and Sunshine Ace.
- In Goodfellas, the brutal, gory beating of Billy Batts is accompanied by the strains of Donovan's romantic, hippie-fied psychedelic pop-folk song "Atlantis," which is playing on the jukebox at the time.
- Not to mention the long montage showing the discoveries of several brutally murdered corpses set to the piano solo from Eric Clapton's "Layla".
- Stanley Kubrick seems to have been quite fond of this trope. In addition to the A Clockwork Orange and Dr. Strangelove examples mentioned above, there's also the classic scene in Full Metal Jacket setting gritty Vietnam War realism to the tune of "Surfin' Bird".
- "Hey there, hi there, ho there, you're as welcome as can be. M-I-C, K-E-Y, M-O-U-S-E." Sounds a lot more disturbing when it's sung by soldiers marching through a warfield — though perhaps not more so than soldiers using "Green Eggs and Ham" as a marching cadence.
- Brazil's main Leitmotif, is a happy song in a movie about a soul crushing, bureaucratic, dystopia.
- WALL-E opens with "Put On Your Sunday Clothes", a chipper little tune from Hello Dolly!...which plays during a somewhat depressing sequence depicting the title character, lonely and going through his daily duties in a deserted, trash-covered Earth.
- This contrast is made even more intense by the first images during the song being beautiful starscapes and whirling galaxies.
- Grosse Pointe Blank opens with the main character assasinating citizens to "I Can See Clearly Now" by Johnny Nash, a cheery, upbeat little number.
- "Wouldn't It Be Nice?" in the Michael Moore documentary Roger And Me.
- At the end of The Devil's Rejects, the titular family commit Suicide By Cop to the tune of "Freebird", with the freeze frame of their deaths, as well as all of the gunshots occurring during the upbeat and frenzied solo.
- Indiana Jones and the Kingdom of the Crystal Skull: while having creepy mannequin-filled suburban homes was vaguely justified by it being a nuclear test, what purpose could setting up a bunch of TV sets to play Howdy Doody possibly serve?!
- That scene was based directly on a real nuclear test spoiler:that was actually conducted in 1957. The TV sets and radios were on because the entire purpose of the test was to determine the effects of a distant airburst on a typical suburban neighbourhood.
- In Madagascar Escape 2 Africa, after the penguins begin stealing vans to rebuild their plane, they manage to run over an old woman. After realizing she's still alive they turn on the music and proceed to hit her again while Boston's "More Than a Feeling" blasts from the speakers.
- An unusual sort of Soundtrack Dissonance occurrs in A Beautiful Mind: in the car chase scene, in which John Nash and his boss are pursued and shot at by two Soviet agents, the musical score avoids an action theme and opts instead for a dark and surprisingly lonely piano theme as the two cars exchange fire. However, the music becomes somewhat more appropriate when Nash is found to be suffering from schizophrenia, and imagined the entire scenario. The music — a particular theme involved specifically with Nash's delusions of Soviet conspiracies — is meant to symbolize his continuing breakdown.
- The clock radio which counts down the protagonist's final hour in 1408 repeatedly (and autonomously) breaks into The Carpenter's "We've Only Just Begun." The cumulative effect is terrifying.
- The final scenes of Bob Fosse's All That Jazz all involve wildly dissonant music, ranging from "Bye Bye Love" (performed while Joe Gideon's heart finally gives out) to "There's No Business Like Show Business" (which kicks in when Gideon is zipped into a body bag).
- In The Bad Seed, Rhoda sets fire to Leroy's bedding while he sleeps, then goes upstairs and plays "Au Clair de la Lune" on the piano at increasing speed as Leroy screams in agony.
- Due to Crystal Ball Scheduling with a wild sense of humor, this pops up a few times in Being There. Middle-aged upper-class people being driven in a limo up to the Big Fancy House just isn't the same when the music on the TV is the Cheech and Chong song "Basketball Jones". And Shirley MacLaine putting the moves on Peter Sellers may sound odd enough on its own, but then you add Mister Rogers singing about friendship...
- The Wicker Man famously (and horrifyingly) ends with the Anti Hero being burned to death in the titular wicker man, while the townsfolk sing a rousing chorus of "Sumer is icumen in", led by Christopher Lee.
- Waltz With Bashir makes extensive use of this trope.
- Halloween has the light warblings of "Mr Sandman", before a slightly-sinister octave shift. Then a full out switch to totally head-down evil.
- In U Turn, the volume on the relaxing, almost elevator music-esque song playing on a grocery store's radio inexplicably cranks up as its owner guns down a couple of escaping robbers with a double-barreled shotgun.
- Office Space: A bunch of whiny white guys who don't like their jobs, all the while crooning to the most violent and bigheaded gangster rap ever? Genius.
- The new film adaptation of Watchmen opens with The Comedian getting brutally murdered to the tune of Nat King Cole's "Unforgettable". The fact that the source of this music is a television advertisement for Veidt Industries' Nostlagia Perfume could be seen as an early clue that the assassin is Veidt himself. The value-neutral-in-lyrics but somewhat-upbeat-in-tune The Times They Are A-Changin' (by Bob Dylan, of course) playing over the various things that occurred in the leadup to the start of the film could be seen as similar, since most of the events — Silhouette's murder, Richard Nixon's election, Mothman's insanity, etc. — are bad things.
- Don't forget KC & The Sunshine Band's "I'm Your Boogie Man" playing over the Comedian's riot dispersal.
- The Saturday Night Live film Dirty Work has one scene set in a bar that plays this for laughs. A bar fight's about to break out. One of the drunks goes straight to the jukebox shouting about how he's going to cue up the Rolling Stones' "Street Fightin' Man" for this very occasion. Unfortunately, he hits the wrong button. Cue a bar fight set to the thumping tones of... "Escape (The Pina Colada Song)".
- Eagle Rock over the closing credits for Dead Heart.
Man: "Looks like there's gonna be a brawl. You playin' something good? "
Chris Farley: "Hell, yeah! Rolling Stones, Street Fighting Man! G! 7!"
Jukebox: "If you like Piña Coladas... and getting caught in the rain..."
- In Bruce Dickinson's and Julian Doyle's Chemical Wedding, we are treated to the sight of Simon Callow as Aleister Crowley striding down a Cambridge University hallway to deliver a lecture while listening to the "Hallelujah Chorus" from Handel's Messiah. It get weirder from there.
- The titular song in Jeepers Creepers goes the way of many children's songs, triggering nearly a Pavlovian response (run, hide) by the gruesome close of the film.
- Justified in the third Lord Of The Rings movie. When Denethor demands Pippin sing him a song, Pippin tells him that hobbits don't know any songs appropriate to a war, only happy songs. Denethor tells him to sing one anyway. The song that follows (taken from an earlier and happier point in the books) accompanies images of soldiers being sent on a suicide mission and killed. Of course, Pippin sings the happy lyrics so sadly that it's almost appropriate.
- It's worth noting that the compilation soundtracks to Batman Forever and Batman And Robin are considered better than their source movies by a mile.
- Space Mutiny, as pointed out by Mystery Science Theater 3000, has a seen where one of the bad guys quietly and calmly walks into a room... followed by epic DUN-DUNNA-DUN-DUN music.
- Poltergeist inexplicably begins with "The Star-Spangled Banner" playing over the credits; our confusion is resolved when we realize it's a TV station playing the national anthem before ending their broadcast for the evening.
- Simultaneously inverted and played straight in Dawn Of The Dead's ending credits. The upbeat muzak seems to clash with zombies wandering aimlessly around a mall, until you realize that they're just stand-ins for human shoppers who'd be doing exactly the same thing.
- In both the movie and the novel Little Big Man, towards the end when Custer's 7th Cavalry is massacring an entire Native American village, including the protagonist's family, in the background is the cheery strains of "Garry Owens" played by the regimental band. As a side note, this was the actual marching song of the 7th cavalry.
- Funny Games starts with a happy family driving through a beautiful country road and listening to opera. When the credits begin, the soundtrack suddenly switches to a shockingly discordant and abrasive song with grinding guitars, piercing trumpets, and meaningless screeching.
- Fallen uses "Time Is On My Side" in somewhat the same manner as an Ironic Nursery Rhyme, first playing as a criminal is to be executed, then sung by the villain as a representation of how he's unstoppable. The hero uses the song himself during a rather clever Out Gambitted.
- In the thriller Transsiberia, a tense chase scene is set to the cheery Russian folk song "Kalinka".
- Invoked in The Good, The Bad and the Ugly. While Tuco is being tortured by Angel Eyes, a beautiful song plays. It's actually being played by the soldiers on their instruments outside, and they are apparently ordered to play whenever Angel Eyes decides to torture someone. His habit is to beat them until the song is over.
- 2001, HAL singing "A Bicycle Built for Two" as it dies.
- In Run Lola Run "What a differance a day makes" plays whilst Lola and Manni are being chased by the police.
- Sort of subverted in the second Ong Bak movie, in that the long fight scene at the end switches between fast-paced metal, what sounds like OminousLatinChanting and singing in some unspecified language. All are appropriate to the scene, hence the subversion, but the change is noticeable.
- The theme song from Jurassic Park is surprisingly upbeat for a movie about dinosaurs eating people.
- In The Boat That Rocked / Pirate Radio, "Wouldn't It Be Nice" by The Beach Boys plays as the boat starts to sink, and the crew rush to get out in time.
- In the documentary Super Size Me, the Blue Danube plays. To the tune of a person having a bypass surgery, in graphic detail. Might be a subversion, because not only the surgery is quick and painless, the person is shown to be alive and healthy(er) in the epilogue.
- Public domain editions of The Lost World (1925) get a good dose of this for all the wrong reasons. Imagine happy springtime mustic playing while an Allosaurus bears down on the heroe's campsite. Ya see? They Just Didn't Care. Thank god the DVD versions have the original score(s).
- In the Tom Cruise version of The War Of The Worlds light-hearted Christmas-type music plays from speakers as refugees pour onto the ferry point. Most of them are dead soon afterwards.
- Dr. Phibes Rises Again ends with the title character, played by Vincent Price, singing "Somewhere Over the Rainbow" as he wins.
Live Action TV
- The new series of Doctor Who really loves this one.
- It started in the second episode. Rose in trouble, the Doctor in trouble, the villain getting their way, and the soundtrack was Britney Spears' "Toxic".
- In "The Age of Steel", people are getting ripped apart and converted into Cybermen. The music? "The Lion Sleeps Tonight", playing over the sounds of whirring and screaming.
- In "Family of Blood", the boys killing the scarecrows is set to "To Be A Pilgrim". This is particularly poignant because the episode is set in 1913, a year before World War One.
- In "The Sound of Drums", an army of six billion Toclafane fly down to Earth under orders to murder one-tenth of the world's population, and "Voodoo Child" pounds in the background — here come the drums, here come the drums... The 2nd part of the finale confirmed that the Master had brought along his own soundtrack to the apocalypse, when he regaled his fortress of slaves and the decimated Earth with "Track 3", a Scissor Sisters song called "I Can't Decide", which is indeed track 3 off their album Tah-Dah. The actual lyrics fit the Master quite well, but the fact that it's a rather catchy tune that the Master dances to creates the dissonance.
- Dances while singing it to the defeated, aged Doctor. Take a look at that first verse again, the one they didn't include in the show.
- "Love Don't Roam" is a happy, upbeat, peppy orchestral pop songs about being separated from your loved one forever.
- And "The Impossible Planet" has a hauntingly beautiful violin piece played over a scene of demonic possession and murder.
- The X Files did this in the episode "Home", where the family of mutants beat the sheriff and his wife to death to the strains of Johnny Mathis' "Wonderful, Wonderful". Even worse, at the end of the episode, the song plays again as the surviving mutant son attempts to impregnate his mother inside a rocking car.
- In another episode, a possessed child's doll puts "Hokey Pokey" on an old lady's record player, then smashes another record and slashes the lady's throat while the music cheerfully plays.
- According to Professional Wrestler Mick Foley's first autobiography, Have a Nice Day!, when he was brought into the WWF as the deranged monster Mankind, he requested a beautiful piano sonata
as his exit music, specifically for the Soundtrack Dissonance when compared to the match that had preceded it. He cited a scene from Silence Of The Lambs as his inspiration to do so.
- In Veronica Mars, Aaron Echolls beats the crap out of his daughter Trina's abusive boyfriend to the dulcet strains of "That's Amore." It's a combination of horrifying and hilarious that's wonderfully uncomfortable. Earlier in the series (in fact, in the episode where he was introduced), Aaron Echolls beats the crap out of his son, Logan, while "Ventura Highway" by America is playing. Both times, most of the damage is done by a belt.
- And the requisite Buffy The Vampire Slayer example: Buffy is washing dishes, crying her eyes out in the dark while the radio plays cheery Latin dance music.
- Not to mention the end of "Conversations with Dead People." A devastated Willow and Dawn, the death of Jonathan, and Spike beginning to kill again, all set to whimsical, beautiful "Blue" by Angie Hart.
- Not to mention the hard rock credit song, clashing with the tone of more than several episodes (e.g. "Body", which otherwise used no music at all).
- Averted in one episode of The Nanny, where Fran is depressed at not being pregnant. Instead of cueing the overtly upbeat theme tune, we just fade to a still from the opening.
- Firefly does this in "Safe". As Mal and Jayne get into a gun fight with the law, River is a fair distance away dancing at a local fair. For the first few cuts, the music in the fair sequence cuts off when we go back to the gunfight, but then it just keeps playing — so we have cheery folk music over people shooting at each other.
- The finale from the second season of The OC involves a scene of a gunshot and its effect, in slow motion, set to the rather calm tune of Imogen Heap's "Hide and Seek."
- This was parodied in a Saturday Night Live sketch titled "The Shooting"
, also known by the name "Dear Sister," in which every character in the scene gets shot by some other character, with that very same song starting up each time. And in turn, this has spawned countless fan parodies, featuring scenes of violence from all manner of media all slowed down and set to "Hide and Seek"...
- This is SPARTA
!
- A Death Note clip (3:58
) in AMV Hell 4 used this song and the scene where Matsuda shoots Light several times, with the song clip starting from the beginning each time.
- And let's not forget, again in AMV Hell 4, the song pops up again, during a clip of Cowboy Bebop's final episode, in which Spike points at the camera and says, "Bang." followed immediately by a slow-motion shot of someone who was watching said clip falling out of his chair, playing dead.
- That's a Running Gag. An earlier Hell features the same song to another scene from Cowboy Bebop, if I'm not mistaken, at two different times.
- The Babylon 5 episode "And The Rock Cried Out No Hiding Place" is one of the better known examples of this, in which an upbeat gospel hymn of the same title is played over a scene of a particularly vicious Centauri war criminal being hunted down and beaten to death by Narns.
- "And we will all come together in a better place... a better place... than this"
- This editor has long maintained that whoever does the soundtrack for NUMB3RS needs a new job. The most egregious example: at the beginning of one episode, the song "Drift Away" plays in the background as a woman is driving home... and continues playing as she pulls into the garage and is killed by an unseen gunman.
- Not forgetting the end of one episode which has the team doing the required chase sequence, while sad music plays. Then again, there WAS also someone about to be executed for a crime he didn't really commit, so it was fairly fitting.
- The Prisoner's final episode, "Fall Out", prominently features The Beatles' "All You Need Is Love" played first as Number Six is being brought in to be exonerated as The Village's new paragon, and a second time — far less appropriately — as Number Six escapes from The Village in a bloody shootout. In a similar vein, you may never be able to hear "Dem Bones" quite the same way again.
- Dexter often includes all manner of cheery background music while the eponymous serial killer is slicing up one of his victims. Depending on how much we're lead to sympathize with Dexter's usually-monstrous victims, it might even be a subversion, as we're happy to see them go.
- The Sarah Connor Chronicles double-subverts the trope (playing the music almost dead-straight), using Johnny Cash's The Man Comes Around, a song about the Biblical Revelation/Apocaylpse for a scene where Cromartie slaughters an entire SWAT team off-camera and tosses their corpses, one by one, into an apartment swimming pool. It's an energetic tune with appropriate lyrics, but most of the slaughter takes place off-camera, in slow motion; a very "artsy" scene.
- And in a recent episode of TSCC, Derek's ashes are buried in an anonymous grave all to the tune of a Scottish folk song sung by a little girl and a killer robot.
- Specifically, "Donald, where's your troosers?"
- The British comedy anthology series The Comic Strip Presents had an episode called "Mr Jolly Lives Next Door". The eponymous and misnamed Mr Jolly was a hit man who would invite his victims to his flat and then play upbeat Tom Jones records very loudly — to drown out the sound of their screams.
- On one episode of Lost, Michael tearfully pinned a suicide note to his chest and attempted to kill himself by driving into a shipping crate while "It's Getting Better" by Cass Elliot played over his car radio.
- The Mork And Mindy episode "Mork Meets Robin Williams" ends with Mork explaining the downside of fame to Orson, and ends by listing off people who became victims of their own fame: Elvis Presley, Marilyn Monroe, Janice Joplin, Jimi Hendrix, Lenny Bruce, Freddie Prinze, and the recently assassinated John Lennon. You can hear Mork's voice shaking as he says this. The show fades out without a wisecrack or a "Nanu nanu", just the sound of a cold wind blowing in the background. And then, cue the happy, upbeat theme music!
- In the lonelygirl15 episode "Home Invasion", Rachmaninov's "Praise the Lord from the Heavens" plays in the background as some Order mooks attack Jonas and his family.
- Done in the Title Sequence to Rome, where the bouncy, upbeat Instrumental Theme Tune is contrasted with the animated graffiti on the walls reenacting gory and/or erotic scenes from Roman mythology.
- A less-overt version, where the music's general upbeatness fits the scene but is way over the top in tone, occurs in Far Scape: The Peacekeeper Wars. The birth of Aeryn and Crichton's child is met with music like that child was the 3rd coming of Christ; the song, called We Have A Son on the soundtrack, is rife with chimes, choir, crashing cymbals, trumpets, and so on. A good piece of music, it is perhaps over-the-top compared with the music most commonly suited to birthing scenes. Semi-justified in that this was a pregnancy that had to overcome three years of tension, two wildly different cultures, a case of potential mistaken babydaddy, 4 deaths split between the 2 people involved, torture, a nuclear explosion, accidental implantation in another species, a galaxy-spanning war, and the kid was had in the midst of a battle after birthing problems. And his parents had gotten married quite literally a moment before. He deserves an overture after all that, let alone surviving what happened after he was born.
- The Daily Show had Jon Stewart using this to show that soft guitar music can make anything sound nice after hearing some in a Barack Obama ad. He had the same music playing while giving a graphic description of the effects of Mad Cow Disease.
- Somewhat unusual example from Star Trek: Deep Space Nine: in "The Siege of AR-558", the crew is on a planet helping a squad of marooned Starfleet officers defend an outpost that they captured from the Dominion. After a few battles take place, their only hope for survival is to take a fairly brutal Dominion weapon that has killed many members of Starfleet and use it on the Dominion soldiers. Nog, while in recovery from having his leg amputated due to injuries, becomes obsessed with a recording of the relaxing lounge jazz song "I'll Be Seeing You". This is already a fair amount of Soundtrack Dissonance, considering the fact that the show takes place in the 24th century, but it becomes even more dissonant when the song plays while the Starfleet officers hear explosions and screams of anguish as the Dominion soldiers are killed by the weapon, and see bright flashes in the sky. The dissonance is also commented on by some of the characters.
- So "Fire Of Unknown Origin" (by Blue Oyster Cult) sounds like a cute song, right? Perfect for a light-hearted/pranky episode of Supernatural. But just listen to it all the way through, especially the line "Fire of unknown origin/Took my baby awaaaay" and you start to wonder how the hell Sam and Dean can listen to it, let alone Dean turning up the volume and singing along with it to wake Sam up.
- Unintentional example: The BBC has been using the perky, quirky song "Young Folks" by Peter, Bjorn and John for its trailers for the 5th season of Who Do You Think You Are?, a series in which celebrities investigate their family history. With lyrics like "talking about me and you" it works well with the basically optimistic theme that everyone has an interesting history worth exploring. But it does not sound right at all over footage of a man wiping away tears as he walks through the Holocaust Memorial in Berlin. Even if that man is Jerry Springer.
- To round out the Whedon trifecta, a pivotal episode of Angel features Angel boarding what he's pretty sure is a literal elevator to Hell in the company of the walking corpse of his nemesis who is taunting him about how futile his struggle is...with typical schmaltzy elevator
music Muzak chirping away in the background.
- Also, the cheerful Beach Boys' song "Wouldn't It Be Nice" plays as everyone in LA is going around happily... because they have all been brainwashed by Jasmine.
- The opening to It's Always Sunny In Philadelphia is a cheery public domain number called "Temptation Sensation" which is accompanied by a series of shots of the titular city from a car. Of course the show itself features an almost exclusivly jerkass cast all of which are selfish, moraly twisted and at times downright antagonistic people. Each episode following their twisted exploits all of which end in abstract failure and often ruining the lives of anyone caught in the middle.
- On one episode of Malcolm In The Middle, the boys in the family get into a knock-down, drag-out fight with a group of clowns after one of the clowns insults Lois. Lois, who has been angry with her family for forgetting her birthday, watches the sequence with a loving smile as "You Decorated My Life" by Kenny Rogers plays.
- Dead Set features a scene where Davina McCall is chased by a zombie, attacked, has her throat bitten out, and is then left to die alone gasping for air... all to the light-pop stylings of Mika with "Grace Kelly".
- One of the darkest episodes of Las Vegas ended on a cliffhanger. Several, actually. By the end of The Teaser of the next episode, Sam Marquez had been kidnapped, nearly raped, and killed her attacker by opening the door of his jet. In flight. Mary may have killed her father who abused her as a child, and Danny, Ed, and Mary herself are all suspects, with Danny being caught on cell-phone cam at the scene arranging Mary's escape and taking the gun from her. Oh, and a shell-shocked Marine commits suicide with an IED-which he mentions is "easier to make than you thing"-in order to keep from being redeployed to Iraq, possibly killing Danny's pregnant Love Interest in the process. And the casino gets robbed, with several members of the security team killed. The millions of bucks in back-taxes the casino owes is actually reduced to a subplot by all the GRIMDARK. The episode right after the cliffhanger used the standard theme song; Elvis' "A Little Less Conversation".
- Someone needs to explain why the epic, dramatic music that plays over sea battles in Pirates Of The Caribbean movies was borrowed and used as incidental music for VTs on The X Factor. Because it really, really doesn't work.
- One episode of M*A*S*H (it was either Season 3's "O.R." or Season 4's "Deluge") had newsreel footage of a swing dancing competition back in the States, with the accompanying music. The video would switch back and forth between the dancers and Hawkeye, surrounded by wounded, doing triage in the compound, while the audio stayed with the dance music.
- The "Fun Fun Fun in the Sun Sun Sun" ending theme of Red Dwarf occasionally fell into this, depending on the episode preceding it.
- Monk sometimes ran into this with "It's A Jungle Out There" from season 2 onward. The season finale for series 6 began with Monk coldly telling a construction crew with no background music that they can't tear down the parking garage down- his wife died there. Cue bouncy theme on trumpet.
- Hyde from Jekyll likes singing "The Lion Sleeps Tonight" while killing people in a lion cage. While the music doesn't show up, he also enjoys a Disney Favourites CD. He also wants to play lions...
- For the NBC special
Cribs Inside the Obama White House they felt the need to put in as many hip song instrumentals as possible, which sometimes resulted in this: for instance, using "Wonderful" by Everclear (about a kid dealing with his parents' divorce) and "Bittersweet Symphoney" ("No change/ I can't change/ I can't change anymore...") — although using "Shut Up And Let Me Go" as the president wanted to get out of his limo ASAP and order some burgers was hilarious.
- Sports broadcasts do this a lot. For example, during the 2009 NCAA Men's Basketball Tournament, CBS would play the very recognizable intro synth solo from The Who's "Eminence Front" over statistical graphics. The song is about how cocaine ruins lives. ("The snow packs as the skier tracks / and people forget / forget they're hiding")
- In the Sentai Ohranger the Insert Song of the female members that talks about what kind hearts and strong bonds Momo and Juri have plays over Juri engaged in a brutal Catfight with a Brainwashedand Crazy Momo. Oddly this is only time the song is played in the entire show.
- An early episode of House had the titular doctor and his hospital's new benefactor have a very serious discussion about House following the rules. When House decided to end the conversation, he pressed the play button on his portable music device. Hava Nagila begins playing. He presses the stop button, and says, "I was hoping for something a little more dramatic."
- The sentai spoof Dynaman used this with the big boss fight: All through the combination and fighting sequence against th e Giant Monster, the soundtrack is Bruce Springsteen's utterly un-subtle anti-war anthem "War." The end result is side-splittingly hilarious.
- Some ITN News bulletins on ITV still used ITN's original theme music, Non-stop, until the early '80s. Early TV news took inspiration from cinema newsreels, which were often rather light affairs, but what seemed like a good theme tune in 1955 dated quite badly and seemed rather un-newsy by the eighties
.
- The happy, upbeat ending to the "Katie And Emily" episode of Skins, where Thomas and Pandora get back together and Naomi and Emily finally publicly admit their love for one another, is set to Glasvegas' epic "It's My Own Cheating Heart That Makes Me Cry", an astoundingly depressing song about how one man's fear that his girlfriend is cheating on him compehensively destroyed their relationship.
- New Tricks has a high quotient of these; regardless of how bloody and unpleasant the crimes investigated may be — or how low our heroes may be at the moment the credits roll — You will always be assured that "It's alright, it's okay" by a cheerful Dennis Waterman. For added dissonance, you can quote Little Britain's version of Waterman, optimistically remarking that he could "write the theme choon, sing the theme choon..."
- Charlie Brooker's Screenwipe loves these. This troper's favourites are explaining how television works by showing your idea gradually turned to shit, literally, played with the brightest and poppiest song ever made in the background, and showing that the BBC can afford to play any song they want but can't afford to show any image, leading to Sgt. Peppers playing over the top of a photo of John Selwyn Gummer
.
Musical
- Cabaret introduces its upbeat title song immediately following a scene where one of the main characters gets beaten up by Nazis.
- The opening number, "Willkommen," evolves into this song. At the top of the show, the Emcee sings "Welcome, stranger — happy to see you, stay!" in 3 languages, all chirpy and everything, while the girls on stage entice the men in the audience, apparently enjoying the spectacle just as much as the Emcee is. This lasts until the very last version of the song — in which the girls are jaded, low-energy, bruised and beaten, their clothing torn, and the Emcee has become practically malevolent. It's a commentary on the "mask of normalcy" people are wearing during the Nazi occupation, and if you know it's coming, it makes the song a lot less chirpily cheerful during the opening.
- Another example from Cabaret is "Tomorrow Belongs to Me", the upbeat opener sung by a bunch of young people about how the future's going to be great. Then you realize it's being sung by the Hitler Youth...
- Done better on stage than the movie. The stage version is a slow, sweet tune; in the production I saw it was sung by an honest to god countertenor. I didn't know the show then, and it was a serious WHAM moment when the "waiters" turned to reveal swastika armbands as they marched off.
- Most of the score of Sweeney Todd, whether it's the "Johanna Sequence", where Sweeney sings a tender ballad of paternal love as he slits throats, "God, That's Good", wherein Mrs. Lovett, Toby, and a slew of "satisfied" customers sing about how great the meat pies are, or "A Little Priest," a cheery waltz about Mrs. Lovett's... Humanitarian ideas.
- The "Johanna Sequence" is an odd example, given that Sweeney's lines are about how he doesn't really care what happens to his daughter anymore — a song about how he's basically losing his humanity while he murders people isn't quite as strange. The song/action combination is still dissonant, though.
- Urinetown: The Musical features a few of these, including
- Snuff That Girl a cheerful number about how the resistance is going to get captured eventually, so they might as well off the Big Bad's daughter and have some fun.
- But even more ironic is the Finale, I See A River. It begins as a cheerful song about the triumph of the poor, until Officer Lockstock comes on stage and reveals that by removing the restrictions on restroom use, the towns water reserves have been exhausted, thus dooming everyone to die of thirst. Shortly after this revelation, the song transitions into the Recurring Riff from the first number of the show.
- This trope even has a lampshade hung on it by Officer Lockstock and Little Sally in one scene. Lockstock says something to the effect of "This is not a Happy Musical" to which Little Sally responds "But the music is so happy!".
Video Games
- This amusing piece
from Turok: Shadow of Oblivion.
- The Nintendo Hard bramble levels of Donkey Kong Country 2 are backed with the most insanely relaxing music in the history of gaming. (This might be deliberate, an attempt to keep the player from experiencing a psychotic episode.) Just have a listen.
WARNING: THE SONG IS EXTREMELY ADDICTIVE AND WILL RUIN YOUR LIFE.
- The last bramble level was an exception. It was a race against an evil parrot that used intense music for a good portion of the level. However, the music still played during the rest of the level, and to make up for this brief period of fitting music, this was the last level before the epic battle to save DK. That means that if you go straight into the next area, ignoring the map screen's music, you go straight from the above song to ''THIS''
.
- "Forest Interlude
" is equally, if not even more relaxing than the above song. It shows up in a haunted forest.
- The Donkey Kong Land series, being based on more limited hardware, naturally had to excise a few songs to stay within the Game Boy's space restraints. The second game in particular has several egregrious examples: the claustrophobic "ship hold" music, for example, tends to show up on every stage related to a pirate ship in any way. Even the rigging stages, which are not claustrophobic in any sense of the word.
- The original Fallout begins with a close-up on a TV flashing classic 1950s images and icons, while The Inkspots' "Maybe" plays. Slowly, the "camera" pulls out to reveal the TV set is in the midst of a landscape utterly devastated by warfare.
- To make it worse, "Maybe" is played again in the ending. Y'know, as the hero is exiled from Vault 13, and marches depressingly into the wastes. Alone.
- Fallout 2 goes the same route; "A Kiss To Build A Dream On" by Louis Armstrong is played over a slightly humorous instructional video about leaving the Vaults and the tools they'll be using to build their new life, which ends with the people doing so... and running smack into the Enclave soldiers waiting for them at the entrance. The folks wave "hello" to the Enclave, and then the miniguns open fire.
- The recently released teaser trailer for Fallout 3 opens similarly, with "I Don't Want To Set the World on Fire" by the Inkspots.
- "I Don't Want To Set the World on Fire" was, appropriately, the first choice of music for the first Fallout, but had to be dropped due to confusion over the rights of the song. For many fans, seeing the teaser trailer for Fallout 3 is a pretty amusing taste of what would have been.
- For the second trailer to Fallout 3, the happy-go-lucky "Dear Hearts and Gentle People" was the music used. It played over images of the nuke-scarred wasteland and both mutants and people alike being blasted to pieces with shotguns, greandes and miniguns.
- There is also a radio in the game, so you can listen to more cheerful tunes from the 1940s as you blow things apart and/or are blown apart.
- There are radios in game as well as built into the player character. So while the ambient sound track is germane to the reality of a blighted world, if the player chooses not to play the recommended GNR Radio at all times, you can still hear cheery tracks like 'Let's Go Sunning' drift in during three-way firefights between super mutants, mercenaries and genocidal fascists.
- The Enclave radio station plays Souza marches and other patriotic American music, as a counter-point to walking around the wrecked hellscape of the former American capital.
- Fallout 3 is a bit of a subversion, as well, since the radio is both under the player's control as well as being a larger plot device. Being replaced by a more fitting dark ambient soundtrack if you choose to not keep the radio on adds to this.
- Bioshock, a game set in a horrific undersea dystopia, features a lot of dissonant music from the 1940s and 1950s playing in the background at certain points. Don't be surprised to find yourself in a shoot-out with some splicers while a song like "Beyond the Sea" (which was used in one excellent commercial for the game) or even "How Much is That Doggy in the Window?" plays in the background.
- Even more memorably, at around the halfway point in the game there is a combat sequence where Mad Artist Sander Cohen sics a whole bunch of splicers on the player at once. His choice of background music? "Waltz of the Flowers" by Tchaikovsky.
- Kat and Ana's segment in Wario Ware Inc.: Mega Microgame$ has you playing cutesy Nature microgames with a serious samurai epic song in the background.
- The Shin Megami Tensei Games for the SNES had a heavy dissonance when it came to the final boss battles, The only dissonance in Nocturne was the First Round of the Final Boss Battle. It had a techno like theme [1]
- Kingdom Hearts II; in the Final Mix version of the game during the difficult battle with Roxas, a Boss Remix of his theme song accompanied by the piano plays. It lies in stark contrast to the game's typical agitated battle music.
- 358/2 Days brings in the battle with Xion's One Winged Angel form, which is also a melancholic Boss Remix of the character's theme
- In Railroad Tycoon 2, the soundtrack is limited to instrumental bluegrass music. It's not exactly appropriate when you're building railroads in the Russian Empire or 19th-century Japan.
- Any Bemani (like Dance Dance Revoulution and Beatmania) game has songs that don't fit in with the theme of the game, mainly the crossovers from one game to another. Osamu Kubota and Hirofumi Sasaki songs are the biggest offenders mainly. Of course, everyone has went to a nightclub and heard the DJ play a piano etude or a slow, Japanese instrumental.
- Pop'n Music has any number of songs that contradict the series' light-hearted, cartoony tone; everything from death metal, to moody-sounding trance, to a "nightmare carosel" song, among others. Additionally, some of the characters do not fit their respective songs; a librarian for Days
, a "smirking kid on a skateboard" (to quote a review on GameFAQs) for a classical medley song in Beat'n Groovy, among other issues. Oh, and wanna know what song has a reputation as the hardest song in this series? This song!
- Final Fantasy VII played Aeris's theme music over the Jenova LIFE boss battle to show Cloud's complete disconnection from the fight in light of Aeris's death. More subtly, it also showed the whole of Sector Seven being obliterated; we cut to President Shinra, who ordered the destruction, sitting in his office watching it all while listening to Haydn.
- In Final Fantasy IX Black Waltz 3 kills a group of black mages while Vivi looks on in horror; a soft, sad piano theme plays in the background. Yeah, it's a Tear Jerker.
- Final Fantasy X had Lulu's calm and melancholic theme song plays when you fight the soul of the summoner she failed to protect, who had morphed into a fiendish version of her Aeon.
- Prey tore a whole Native American reservation apart — the main character's Doomed Hometown — while "Don't Fear The Reaper" played on the jukebox in his grandfather's bar. (This might be a double-subversion. The song is about the acceptance of death as part of life — but the scene could hardly be called an example of "natural causes".)
- Killer7 features a finale in which we are shown flashbacks of brutal murders while someone faintly whistles "Greensleeves" in the background. (Note, however, that "Greensleeves" and "What Child is This?" have the same melody; the latter would fit quite nicely.) Then there's "Rave On", an incredibly fast techno number, which plays... on a completely empty staircase as you head for the level's boss. No enemies, no background, just a brown staircase on a black void. That takes maybe ten seconds to traverse. The song itself is five minutes long and gets really good around the last minute.
- An intentional example takes place in the first Earthworm Jim game. In the level What the Heck?, which takes place on Evil the Cat's home planet, the intro of Modest Mussorgsky's "Night on Bald Mountain" starts playing, but suddenly changes to... elevator music accompanied by random screams in the background. "Oh, the humanity!" indeed. For this, Heck is this editor's favourite level in the game.
- A Gears Of War commercial uses Gary Jules's "Mad World" to this effect. While not a happy song, "Mad World" is an unusually reflective and calm song to play while showing scenes of carnage involving alien monsters.
- And then there is the ad for the sequel
, with "How It Ends" by Devotchka.
- Released gameplay footage of the Gears 2 Campaign does this with elevator music. The building in question however, has been toppled over, so you ride the elevator sideways as you watch the Locust rampage through the burning cityscape through the holes blown in the wall of your building.
- A video of this can be found here
. The elevator part is from around 5:22 to 5:41.
- Another commercial example: The commercial for Mercenaries 2 has a lighthearted, upbeat song playing through all the havoc and destruction going on in the background... which, while its tone is perhaps against the game's subject matter, including the lyrics (listen here
) the song as a whole is very fitting for the game.
- Red Faction II commercial. "White Rabbit." FEEEEEED YOUR HEEEEEEAD! Not quite dissonant, because it feels pretty epic, actually, but come on. That's just insane. And awesome.
- Dead Rising follows the adventures of Frank West, photojournalist, as he tries to single-handedly fend off a zombie apocalypse from inside a shopping mall. Its soundtrack consists almost entirely of blandly cheerful muzak wafting over the mall's sound system... except when you get into boss fights. That's when the dissonance fades and more appropriate music kicks off. Fighting a Monster Clown to the tune of muzak might make Your Head A Splode.
- At the end of Portal, the player is introduced to a devastated outside world after having escaped from a facility where she was subjected to psychological torture. The camera then moved to spare parts of the Big Bad GLaDOS, waiting to be reassembled. Then the game ends, and chipper, upbeat music starts playing. GLaDOS is singing about how she is "still alive" and will continue the very same experiments she just performed on the player. ...of course, as GLaDOS was an interesting and somewhat sympathetic character, some players are actually happy to see her survive, thus flipping the soundtrack back into appropriate-ness.
- I didn't see a morality core in that pile of spare parts. Let's not jump for joy yet.
- An upbeat version of Still Alive plays on every single radio in the facility, most noticeably in the relaxation vault at the very beginning and in the latter stage of the test chamber where the deadly turrets are introduced. Fighting for your very life while murderous turrets try to gun you down while chirping sweet platitudes is made even more disturbing with the radio playing its cheerful little tune in the next room over. Plus, this test chamber also features the first rat man room, where the hints that the enrichment center is not entirely what it seems start dropping.
- Super Smash Bros Brawl has 314 songs to choose from, many of them perfectly fitting for jumping into the heat of battle and getting pumped up — with a few exceptions. It's always amusing to see the most villainous fighters duking it out to the strains of "Ai no Uta" in the background or to hear the chirpy, slow "Forest/Nature Area" song on the menacing, fast-paced Halberd stage.
- And of course, the game also has Stickerbrush Symphony, and it's as maddeningly calming as ever, on what some consider the most frusturatingly difficult level to fight on because it scrolls upwards faster than some characters can jump!
- Let's not even get started on the "My Heart Will Go On"-esque "Calling To The Night" from Metal Gear Solid: Portable Ops.
- Sakurai enjoys playing with the trope, though. The above-mentioned "Ai No Uta" is actually about how Pikmin resolutely risk their lives for an alien, with no concern whether or not he loves them. And that's not even getting into "Love Theme of Mother 3, which might be the first song in video gaming to be used for this trope twice.
- Don't forget the fact that the Pokémon Centre theme plays on one of the Pokémon stages. Think about it for a minute. A piece of music that normally plays in a place of healing, in a fighting game.
- For fans of the Sonic The Hedgehog games, it's also rather jarring to hear the Scrap Brain theme playing in a stage based on the Green Hill Zone.
- Route 209, which is remixed to be very upbeat and cheerful, can be played on the grueling stage of Spear Pillar, which has the legendaries of Diamond and Pearl attacking you with huge laser rays and exploding platforms.
- Mother 3: During the final boss fight, the battle music starts off with a heavy bass line with some creepy distortion, but as the battle goes on, it fades into a soft leitmotif of the Love Theme, while Claus's attacks get weaker and he starts to regain control of his emotions.
- Another example from Mother 3: In Chapter 1 of the game, Flint goes berserk after hearing of his wife's death, injuring two of the town folk with a two by four, while a lovely piano song plays in the background.
- The Original Mother does this as well, also during the final boss: You defeat the primary antagonist, Gigue/Giygas, by singing him a lullaby.
- Also from Mother, Ninten and Ana have a dance on Mt. Itoi, but the song itself is very melancholy.
- Hitman: Blood Money has "Ave Maria" as the main menu song. And on some maps, upbeat music is playing while you can happily slaughter your way through the innocent crowd. Furthermore, the Ave Maria returns at the very end of the game, where it plays in the background of the final mission when 47 wakes up at his funeral and starts blowing mooks away left, right, and center.
- Specifically, the scene starts with Ave Maria goes into a downer tune as the shooting begins, and goes back to Ave Maria as 47 leaves the church to finish off the survivors.
- The World Ends With You hardly has any dramatic music as boss music; only one song plays exclusively during boss battles. The boss battles that don't use that song use regular battle music instead. The final battle does, however, use its own remix of "Twister", the game's main theme.
- The latest trailer for Final Fantasy Versus XIII features an excruciatingly bloody battle juxtaposed with a soulful, operatic song. Watch it here: [2]
- Overlaps with Ironic Nursery Rhyme when Dead Space uses "Twinkle Twinkle Little Star" — most noticeable in this trailer
, but it also pops up in the game proper, where it is — if possible — even more chilling.
- Dead Space also has an unusual, non-musical version of this, thanks to the automated systems of the ship you're on. After planting an emergency-beacon on an asteroid — possibly your last chance for survival — you are making your way through the dangerour environment of a half-derelict spaceship, while constantly alert for Necromorphs — and suddenly, the ship's comm-system pipes in merrily "Dinner will be served in the Mess Hall in one hour."
- Metal Gear Solid 4 has interactive soundtrack dissonance. Snake has an iPod loaded with orchestral pieces, some old-style light jazz/blues, and "Oishii Two-han Seikatsu", an utterly vapid, super-perky J-pop piece absolutely ideal for brutal gunfights. You're even encouraged to, since Snake's Psyche slowly restores when he listens to it.
- If you listen to "Oishii Two-Han Seikatsu" while fighting one of the beautiful female bosses, they'll do a little dance routine for you, and then immediately return to walking towards you sexy-creepily. Bear in mind that the soundtrack during these sequences is usually a sound-effect mangle of women and babies laughing/snarling/crying/screaming.
- Used in cutscenes, the very opening scene involves a brutal, Saving Private Ryan-esque scene of war carnage, set to the hauntingly beautiful 'Love Theme'.
- In Wangan Midnight Maximum Tune, after clearing Story Mode for the first time, you can, after selecting a chapter, pick whatever background music you want. As a result, you can, for example, play a "boss" song on the first stage.
- Before fighting Travis in an epic Duel To The Death in No More Heroes, Dr. Peace sings a rousing karaoke song called "The Virgin Child Makes Her Wish." It sounds uplifting, but too uplifting to be sung before the start of a "two men go in, one comes out" kind of fight.
- It sounds uplifting, but the song itself qualifies as Lyrical Dissonance. The song is about a young girl drowning to death as her mother watches.
- People can generally be arranged into two categories: those who think "Green Greens" is just that happy, cute, uplifting, delightful little song from Kirby, and those who have played
I Wanna Be The Guy.
- In the Moon Base level of Destroy All Humans! 2, all your hard work there pays off when you manage to cause the Soviets to revolt against their alien overlords, causing a giant battle between them inside to base, while "She Changes Like The Seasons" plays in the background.
- In the first game, during the massacre at the Santa Modesta pool party, the radio plays "So Nice" by Summer Samba.
- The final battle of the original version of Final Fantasy I pits you against the Big Bad Chaos, and the background music is...the normal battle music.
- Callof Duty 4 includes a cheat mode called "Ragtime Warfare" which speeds up the game, makes the video sepiatoned, and adds Ragtime Piano music.
- The epic Dancing Mad final boss theme in Final Fantasy VI has an unexpected peaceful segment.
- And similar to the Joker example above, Kefka's theme is a whimsical tune which you soon learn to equate with "something horrible is about to happen".
- Depending on the background music playing at the time, this can also apply to Sid Meier's Civilization series. It's unsettling watching your army slaughter an entire race while pleasant classical music plays in the background.
- Karnov has what might be the most cheerful Game Over music of all time, which will just make its difficulty all the more frustrating.
- What might be the scariest song in Resident Evil 2 actually plays in the SAFE ROOMS. Listen for yourself.
- In Elite Beat Agents, one of the bonus levels was supposed to be a light-hearted Affectionate Parody of zombie movies. With the song Survivor playing instead of the more upbeat happy tunes in the rest of the game, you forget it's supposed to be a parody.
- There are actually alot of moments in the Halo trilogy that feature intense firefights with rather serene music.
- Example: Elevator-jazz-style music during the indoor battles in "Assault on the Control Room". One of these musics is the "lost song" that wasn't featured on the OST.
- The cutscene at the end of "Regret" where the temple is being destroyed by the Covenant fleet is accompanied by sad string music.
- Several titles in the Gradius series have the first part of their final stages set to oddly-happy, almost holiday-like music.
- Lampshaded in their own series of parodies of Gradius, Parodius. A game that not only parodies the Gradius games with strange enemies, but also with unfitting music playing almost all the time.
- In Indiana Jones and the Fate of Atlantis, you are given the arduous task of rescuing Sophia from the Atlantean prison and the single nearly-invincible nazi soldier guarding her. The solution is to power up an ancient guard robot, which stomps the Nazi to death before malfunctioning and shattering into useless rubble. And it does this to the lively tones of a marching band!
- Parodied in Chrono Trigger. When Dalton fires up the newly stolen and upgraded Epoch to attack the party, the BGM that starts playing is, of all things, the theme of the main character, Crono. Even Dalton notices the music is off and tells his mooks to play something more dramatic in a moment of Breaking The Fourth Wall.
- Xenosaga III has this music
playing in the background during a very dramatic boss fight (description spoils name of boss).
- In the same game, the background music during the Miltian Conflict, one of the bloodiest incidents in the series' backstory, is a heartbreakingly beautiful piano piece.
- Also, the Song of Nephilim is an in-game phenomenon that actually causes this: while eerily beautiful, it causes susceptiple listeners to go Ax Crazy, and also has the effect of summoning the Gnosis to wreak havoc. Whenever it plays, destruction and mayhem ensues, all to the tune of a haunting, melancholy female voice...
- Yet another video game commercial: Super Smash Bros. set to "Happy Together"
.
- The music in boss battles in Bubble Memories, a Non Linear Sequel to Bubble Bobble (and possibly also in other games in that series) just doesn't fit the severity of the situation. It's not "doom-y" enough.
- The "ballet of death" trailer for Killzone 2 is scenes of death and destruction scored to "The Flower Duet".
- The "Arnhem Knights
" level in Medal Of Honor: Frontline is a heated battle in the streets and ruins of Arnhem set to slow, melancholy Dutch Cherubic Choir music. Adding to the dissonance is the fact that the Allies lost the battle in real life.
- "Sweet Georgia Brown" is used during the Duel Boss in Barkley Shut Up And Jam Gaiden. Also the background is inexplicably switched to a basketball court (It Makes Sense In Context given that "Sweet Georgia Brown" is the Harlem Globetrotters' theme.)
- The battle music in the Mario And Luigi games is usually fast-paced and energetic, but in Partners in Time the final battle theme is a slow, somewhat melancholy theme.
- System Shock 2 has mall background muzak and announcements contrasting heavily with the infected humans trying to bludgeon you to death and moaning "kill me". And that's without mentioning the speech of the chipper and polite droids that want nothing more than to help you in any way they can — as long as it involved accidentally detonating in your vicinity.
- The original Shock uses actual elevator music (perjorative sense) on the elevators. After a prolonged firefight (to a vaguely techno soundtrack) the hacker bursts into the elevator, collapses against the back wall, and pushes the button for the next level. Dooo de doo de dooo...
- Marvel vs. Capcom 2 features epic battles between uber-powerful warriors and friggin' superheroes, yet it's scored with a bizarre mix of elevator muzak and lounge tunes that would be out of place in pretty much any setting that isn't an elevator or a lounge. The absurd dissonance here is about on par with using zydeco music in Silent Hill, and even better: you can't turn it off or adjust the volume. Oh, it's gonna take you for a ride, all right...
- Persona3 does it deliberately for "Operation: Babe Hunt". Junpei and his quest for chicks is set to "Deep Breath Deep Breath", which usually plays during the Full Moon operations — in other words, music played just before you're fighting for your life.
- Nobody's mentioned Panel de Pon? Throughout the game, the music remains pretty calm and happy to fit the mood, but if you manage to beat hard mode, you are confronted by the real Final boss. The music it plays during her battle and when she first appears sounds more like it should be in Final Fantasy, especially when in danger mode.
- Tetris Attack also has the opening, but Bowser was given Sanatos's theme so Cordelia's Theme remains unused.
- Would you believe the theme song to the Robo Cop video game for Game Boy and C64 sounded like this
? So incongruous, it was used in a surreal British TV commercial for home appliances .
- Every single Silent Hill game has this at least once. The most frequent user is definitely the second game, in which the opening cutscene alone has the beautiful "Theme of Laura" playing over scenes of madness, delusion, suicide, and incredibly suggestive images.
- "Angels Thanatos" is an upbeat heavy metal tune, but is played during the credits of the "In Water"(suicide) ending in SH 2.
- Pokemon Battle Revolution has the Courtyard Colosseum, the second-last colosseum of the game. The music for the stage itself is rather fitting, but the boss of the stage, Kruger, the game's That One Boss, has this
as his theme.
- Persona 4. Nothing was more jarring than going through a dramatic, dark part of the game just to hear the horribly upbeat high school tune. (The second one, that is; the others weren't bad.)
- Even worse, the tune for you house, a calmly cheery and sweet piano tune, that plays when Dojima is in the hospital and Nanako is either kidnapped or may or may not be dying of a mysterious illness herself. Ouch.
- The music in the Cell Stage in Gradius V is rather new age-ish, while this is one of the more tense and dangerous levels of the game.
- Most of the soundtrack to Ray Crisis is smooth techno-elevator jazz, even during boss battles.
- Even more egregious; the track "Formless Living Bodies" played during the first Final Boss battle, which of course is That One Boss, is a chilled trip-hop track.
- There is only one track of music to Dwarf Fortress, a relaxing guitar played by the game's creator Toady One. It plays as the goblins siege your fortress. It plays as the walls cave in on your Dwarves. It plays as they get dismembered by elephants. It plays as they go insane from not having shiny metal bars.
- The final boss battle of Ar Tonelico II is accompanied by a generally soft, peaceful choral/orchestral number whose composer says represents rebirth. This is appropriate, considering that's the goal of said final boss(es).
- In Monster Party, a jolly game over music plays while the background consists of skeletons in a pool of blood.
- Around half the soundtrack of Fate Stay Night is played at odd times. You'll have the ultra dramatic battle music going on while Taiga is complaining about girls staying in your house, and when Ilya is brutally murdering you her theme song is playing. And her theme song is pretty much exactly what you'd expect the Token Loli's theme song to be in a visual novel like this.
- Buck Bumble, a somewhat obscure bee-themed Cute Em Up for N64. The music? Drum-and-bass
, of course!
- Taiko no Tatsujin / Taiko Drum Master has many, many songs that you'd expect to be the last songs to play a taiko drum to, with medleys/remixes of music from Xevious
and Darius , just to name a couple examples.
- The song "Defend and Escape" in Ys: The Ark of Napishtim is a rather depressing piece, played during an intense Escort Mission.
- "Quatera Woods", is a relaxing downtempo synth-rock tune, played in a forest with Everything Trying To Kill You.
- "Valley of Quicksand" is a relaxed Latin-ish beach tune, played, of course, in a harsh quicksand pit-riddled desert.
- Spider-Man: Web of Shadows starts in medias res in the middle of a battle against Venom symbiotes in a ravaged New York, set to Beetoven's Moonlight Sonata.
- Mega Man 8: In the PSX version, Tengu Man's theme is the standard upbeat MM music, but in the Saturn version, it was replaced with a rather tear-jerking piece.
- Wangan Midnight Maximum Tune plays the cheerful result music when you finish a story or VS race, even if you lose.
- Tales Of The Abyss has the final boss where Tear sings the Grand Fonic Hymn in the background. And the final boss is her own brother and Luke's swordmaster.
- Saints Row has the EZZZ radio channel which, as implied, plays nothing but easy listening. Easy listening in the deliriously upbeat mode, not so much in the whale songs and drone mould. It certainly adds another level of lunacy to the already hyperbolic scenarios. Altogether now, 'Na-na-na-na, na-na-na-na, na-nananana (KABOOM!)/ na-na-na-na, na-na-na-na, na-nananana (AIIEE!)
- This continues into the sequel. There's also channels like The Mix 107.77 (80s music — stuff like Take On Me, The Final Countdown, and so on) and Klassic 102.4 (classical music, of course). Nothing quite like mowing down the gangs in Stilwater to the tune of Culture Club's "Karma Chameleon" (red gold and green... just like the three enemy gangs!) or Down Under by Men at Work... and then there's always buying a copy of Ride of the Valkyries at the Scratch That stores for the helicopter missions. Sadly, nobody seems to comment on the Boss' listening habits, except one incident with Price.
- Disgaea 3 is a game with some pretty epic music, so you'd expect the game over music to be pretty depressing. So what exactly do you hear when you die? An unbelievably cheerful tune with sickeningly cute vocals.
- The Japanese opening of Digital Devil Saga have Sera singing "Life shine in the heaven" while the opening itself get a bit gory at time. It doesn't make it less awesome althought to be fair, several persons prefer the U.S. opening instead.
- Shadow Hearts usually uses heavy metal music in battles, which is fitting considering the Badass Cthulhu-punching tone of the series. That makes it all the more unusual when, during the final battle of the second game's first disc, this
plays.
- The Incredibles video game has a level with music that sounds directly like it came out of a James Bond movie, but when you enter an elevator, the Bond music stops (For about, ten seconds) and is replaced by elevator music.
- The free flash game Paper Plane Madness 2
is a relatively cutesy copter clone where you control a small paper plane as it dodges ducks and such like, but has an extremely loud and somewhat epic heavy metal music track as its background music.
- The original Persona usually used the electronica tune "Dead Line" for its boss fights. But when you fight Robo-Rat... this
is the theme. Even better, it's called "Child Abuse". Even better, it appears to be the one song they didn't change for the PSP remake!
- The TMNT: Smash Up TV Spot uses a peaceful song about the Turtles... While The Turtles, Shredder, April, Foot Soldiers, Casey, Utrominator, among other characters are kicking each others asses.
- Oregon Trail II both subverts and plays this straight. The game music starts off cheery, but gets less hopeful and eventually Scare Chord filled the worse off your party's health gets. But if the sick member of your party passes away, THE MUSIC RESETS TO THE HAPPY MELODY IT WAS PLAYING WHEN EVERYONE WAS ALIVE!
- The "Snowy Roads" level in Twisted Metal Black is a heated close-quarters battle, but the music is beatless, spooky, dark ambience with a One Woman Wail. No Battle Theme Music here, strangely, except for the "final opponent" theme, which averts this trope.
- The Holland level in TM 2 is a nowhere-to-hide fight to the death in a barnyard while happy 60's-style rock-n-roll music plays.
Western Animation
- Futurama's "Time Keeps on Slipping" has a pretty sad ending, but it also ends with the song "Sweet Georgia Brown", which is not exactly the saddest song in the world. Mind you, Bender was whistling it rather wistfully and slowly, and it had a cool echo effect that made it sound all alone in the universe.
- Futurama additionally parodied the one in Dr. Strangelove in the episode "A Big Piece of Garbage" by also playing "We'll Meet Again" when a giant ball of garbage that destroyed another one is implied to eventually come back to destroy the Earth in the same way the first one did.
- Then there was the episode which continued this trend, ending on a song with the line "I will wait for you/for a thousand summers", which twisted the theme of ironic end themes in that this one is played straight — the ending of the episode revealed that after Fry was frozen, his dog was so loyal that he literally waited for him, in the same spot, every day until he died.
- Oh,really? (Any word on whether it was retconned solely because it was too sad?)
- In The Simpsons episode "Bart's Comet", Ned Flanders sings "Que Sera Sera" as he waits for the comet to destroy Springfield — and him, at the same time. Ironic as it is, at least it fits Flanders' character; the scene becomes completely ludicrous when all of Springfield begins singing along.
- This editor has seen two probably unintentional examples, with a closing credits theme that isn't somber to match the mood of the ending of the episode that just finished:
- The South Park episode "You Got F'd in the A" had a particularly hilarious usage of the trope: all through the episode, Butters has nightmares about the last time he tap-danced (he accidentally killed eleven people). At the end, he pulls through and joins the dance group for South Park: he tap dances fine, until he accidentally kills their opponents. This means the South Park boys win and he is hailed as a hero, all while crying "No... no... NOOOOOO!" The same song plays both in his flashback and the end credits: a cheery, if somewhat Double Entendre-laced jazz song, "There's Something In My Front Pocket".
- The other way around: The theme music for Dexter's Laboratory is ominous, but the show itself is humorous. This editor admits to being turned off by the ominous theme music.
- The Ralph Bakshi movie adaption of Fritz The Cat ends with an old-timey sounding tune called "You're The Only Girl", all about reminiscence of young love. Now, let's take a look at that title again, and then remember what kind of character Fritz is. And then that's couple that with the fact that it's played over Fritz having sex with three girls in a hospital bed.
- Bakshi would later utilize some odd music choices in his adaptation of The Lord Of The Rings, as analyzed on the Tolkien Sarcasm Page
. Given the movie's overall track record and reputation, this may have just been a mistake.
- Drawn Together uses this trope quite frequently, especially in montages. Examples include the happy lighthearted tune that plays while the human race is being wiped out by aliens in "Dirty Pranking No. 2", and the song "Winner Takes It All", which understandably plays during Captain Hero's big AIDS-Walk competition... while he is brutally murdering all of the participants.
- In Harvey Birdman Attorney At Law, as Harvey is being prepared for his execution in "Deadomutt" the song "It Is Such A Good Night
" is played.
- The Great Mouse Detective opens with Olivia's father getting violently kidnapped in front of his daughter, and there are a few moments of silence as she cries out for him after he's gone. Cue the opening credits with confoundingly upbeat music.
- The big series finale of Avatar The Last Airbender reaches the climax of its Zuko and Azula subplot when the two challenge each other to one final Agni Kai. We expect some epic, fast-paced music to start, but instead, the melody that greets us is a very sad-sounding, slow, beautiful piece called "The Last Agni Kai
".
- Batman The Animated Series has a truly wonderful soundtrack. One of the happiest, cheeriest themes heard frequently throughout the series is a upbeat flute-played tune that would be right at home in a circus... which also happens to be The Joker's theme music. He sometimes whistles it.
- Happens sometimes during The Backyardigans. A cowboy episode set to hip-hop, or an Ancient Greece episode set to samba, are such examples of that.
- Courage The Cowardly Dog is very fond of this trope. One memorable example imvolves peaceful nature music being played while savage vegetable-piranha hybrids began to rip each other apart as their gooey remains splattered across the room. Another episode played the same music as the title character is tossed off a cliff.
- In the episode of Arthur where Buster comes back from being absent for half a season and finds himself locked out from everyone, the guest narrator, a singing moose played by Art Garfunkel, sings at one point (in a happy upbeat tone) "He's a sad, sad bunny/ A sad, sad bunny..." to which Buster yells "Hey, that isn't sad music!". The narrator quickly changes his tone and tempo to a depressing one.
- Justice League: "Maid of Honor", Part 2. Batman and Wonder Woman fight the Kasnian military to wedding music.
- Nine: "Somewhere over the Rainbow" plays while 5 is desperately trying to escape a huge and psychotic robot.
- Made all the more disturbing when it cuts back to the others still playing happily, while in the background you can hear 5 screaming for help.
Other
- This actually became a fad on You Tube, especially with Youtube Poop, known as "X DOES Y WHILE I PLAY UNFITTING MUSIC". As the name suggests, the fad involves playing completely inappropriate music over a video clip. The first one was a clip of Luigi winding a jack-in-the-box accompanied with a snippet of "Don't Stop Me Now" from Queen.
- Now there are videos to counter this, called "X DOES Y WHILE I PLAY QUITE FITTING MUSIC."
- Sync Sarah Connor's nightmare from ''Terminator 2'' to "Scatman's World"
- ''Battleship Potemkin'', with a Parliament Funkadelic soundtrack.
- [[http://www.youtube.com/watch?v=dsEvbwZbI4I
Phantom Of The Opera playing "The Entertainer''.
- Screw Attack present: All of the fatalities in Mortal Kombat II to the tune of Baby Elephant Walk!
- Les Trois Accords, a Québecois parody rock band, seems to embrace this trope in their videoclips. Examples include ninjas and country music
, hawaiian music in a winter background and just plain surrealism .
- Some Fan Vid makers appear to be deliberately Invoking or Stealth Parodying this by putting serious content to upbeat, even saccharine songs; For example, Hare Hare Halo anyone
? How about Devil May Cry to Caramelldansen, as in Macabredansen ?
- An old Doctor Who comic features a mercenary who can't get an annoyingly cheerful song out of his head, later realising that he'd got his headset stuck on playing it after it comes off after he'd been shot after mortally wounding a friend of the Doctor. The Doctor shoots the headset.
- In Red Vs Blue, Red Team's jeep always rolls into battle with bouncy Tejano music blaring, since they can't figure out how to work the radio. This gives certain pitched battles a surreal quality...
- In the finale of the opera Carmen, the offstage chorus sings "Toréador, en garde!" in a victorious mood as Don José stabs Carmen to death onstage.
- There's a video on YouTube called "Payatan and Punie" which uses Dai Mahou Touge footage to Queen's "Best Friend". It starts out cheerful but then shows the more gory scenes with the music staying the same.
- The Internet meme of Rickrolling, which is the use of a falsely advertised video that, when viewed, actually runs audio of Rick Astley's "Never Gonna Give You Up", falls under this trope, because in a piece of irony in relation to the lyrics, the viewer is being let down.
- The entire point of Inappropriate Soundtracks.
- The whole Billy Herrington meme from Nicovideo. Anime and video game music combined with gay wrestling? Pretty dissonant stuff.
- AMV Hell
derives a lot of humor from this.
- Lets Player Deceased Crab plays with this in his videos of the Flash Games Don't Look Back
and I Was In The War . He switches the games' soundtracks, having a jarring effect on their atmosphere.
- Though it can't actually be heard, one chapter of Johnny The Homicidal Maniac has Nny go on a murder spree... while listening to "Ode to Joy".
- This occured (belive it or not) in the Newspaper Comic Doonesbury, when a pair of gay radio commentators wed on an airplane which just happened to hold a gay men's choir, who serenaded them with "I Want It That Way" by The Backstreet Boys — a breakup song. They divorced a few years later, though they still work together.
- XKCD provides an Important Life Lesson
on why not to use shuffle on a background music player.
Web Animation
- Where else can you get a violent Kaiju-type movie done in a strange pseudo-rotoscoping animation-style with Miles Davis' masterpiece, So What (yes, from Kind of Blue!) playing in the background? Why, in Cuboid Jazz Monster
you can.
Truth In Television
- The three best songs to set the beat of chest compressions in CPR to are "Row Row Row Your Boat", "Stayin' Alive" by the Bee Gees and "Another One Bites the Dust" by Queen. Which would you rather your EMT be humming?
- Believe it or not, that's a tough one to answer.
- This troper actually started humming "Staying Alive" while working a code during his paramedic clinical rotations. Needless to say he got a few weird looks in the trauma room.
- This troper was once practicing CPR with her church youth group. We looked through the hymnal to find a song with an appropriate beat, and the first one we found was called "I Believe In Christ." It has a lyric that says "I believe in Christ/so come what may..." Yeah.
- Sweden always seems to get "The winner takes it all" by ABBA as a background soundtrack, when the opening ceremony of the Olympic Games is shown on television. Presumably the producers want to imply that the Swedish team is out to win (everybody else also gets winning songs, after all), but ABBA's song is actually focused on losing everything you once had, because the new winner took it. But hey, it's not like we win that often anyway.
- Reputedly, at least one news company used David Bowie's "Space Oddity" for the Apollo 11 landing. Which seems appropriate when you consider it's a song about an astronaut on a trip to space. Until, of course, you get to the final verse which seems chilling when you consider there was a real danger the two astronauts who landed on the moon might not have been able to back to the ship: Ground control to Major Tom/Your circuit's dead — there's something wrong...
- Similar to, and perhaps serving as inspiration for the Schindler'sList example listed under the Films section, there are chilling real-life accounts of groups of Holocaust victims being forced to run nude in a field, then shot by Nazi soldiers, all while classical music or peppy, patriotic pop songs were played over a speaker system. This Troper read something of the sort when he was about 10 and... well... there's a reason I'm such a cynical person today.
- Way back during 'Nam, Bing Crosby's "White Christmas" was never played, even on Christmas time. The only time it was played was on the American radio station in Saigon during Operation Frequent Wind, on April 29th, 1975. Why? The song was meant to signal US personnel to immediately get to the various evacuation points, because the city was about to come under fire. Saigon fell the next day.
- During the team intros for 2009 World Series between the New York Yankees and the Philadelphia Phillies at New Yankees Stadium, The Imperial March was played for the Phillies while the Yankees got the intro theme. I'm sure there's a lot of people who think someone switched the songs since it's not the Phillies who're called the Evil Empire and just got a bigger, better, more advanced
planet-destoyer baseball stadium...
Close Truth In Television
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