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* "Shangri-La" off the 1976 album A New World Record features a beautiful [[FakeOutFadeOut outro]], but it can also be quite intense and frightening for those not expecting it, [[FakeOutFadeOut which is to be expected for the first listen.]]
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* "Shangri-La" off the 1976 album A New World Record features a beautiful [[FakeOutFadeOut [[https://www.youtube.com/watch?v=ysfgN8OrzSk&ab_channel=Joas outro]], but it can also be quite intense and frightening for those not expecting it, [[FakeOutFadeOut which is to be expected for the first listen.]]
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* ''ELO 2'' features two chaotic and noisy “boogie” tracks and the 12 minute anti war song ''Kuiama'', which combines moments of calm and dramatic strings with [[BloodierAndGorier surprisingly graphic lyrics]] and a healthy heaping of [[TearJerker tear jerker]]
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* ''ELO 2'' features two chaotic and noisy “boogie” tracks and the 12 minute anti war song ''Kuiama'', which combines moments of calm and dramatic strings with [[BloodierAndGorier surprisingly graphic lyrics]] and a healthy heaping of [[TearJerker tear jerker]]jerker]]
* "Shangri-La" off the 1976 album A New World Record features a beautiful [[FakeOutFadeOut outro]], but it can also be quite intense and frightening for those not expecting it, [[FakeOutFadeOut which is to be expected for the first listen.]]
* "Shangri-La" off the 1976 album A New World Record features a beautiful [[FakeOutFadeOut outro]], but it can also be quite intense and frightening for those not expecting it, [[FakeOutFadeOut which is to be expected for the first listen.]]
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* "Sorrow About to Fall" is a notorious example of this. The music is ''haunting'' to say the least, and the lyrics are no different. Basically, it tells about the aftermath of a city which has incurred some form of apocalyptic event and that there's a 'sorrow about to fall'. [[NothingIsScarier It isn't made clear]] to the listener what happened to the city or its inhabitants, but one such interpretation is that the city was completely obliterated and the result was few to no survivors. If anything, it's a stark contrast to what ELO were known for in the past.
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* "Sorrow About to Fall" is a notorious example of this. The music is ''haunting'' to say the least, and the lyrics are no different. Basically, it tells about the aftermath of a city which has incurred some form of apocalyptic event and that there's a 'sorrow about to fall'. [[NothingIsScarier It isn't made clear]] to the listener what happened to the city or its inhabitants, but one such interpretation is that the city was completely obliterated and the result was few to no survivors. If anything, it's a stark contrast to what ELO were known for in the past.
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* There's a particularly notorious example at the end of "Mr. Blue Sky", when you can hear Richard Tandy say "Please turn me over!" in a [[LastNoteNightmare rather haunting vocoded voice.]]
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* There's a particularly notorious example at At the end of "Mr. Blue Sky", when you can hear Richard Tandy say "Please turn me over!" in a [[LastNoteNightmare rather haunting vocoded voice.]]
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the [[NightmareRetardant lo-fi vocoders and early '80's digital vocal effects]] employed on multiple occasions:
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, features scary moments, largely due to both the general melancholic motif of loss transcending each of its songs and the [[NightmareRetardant lo-fi vocoders and early '80's digital vocal effects]] employed on multiple occasions:
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* Most of the band’s early work falls into this category, with the slick production and poppy sound pared back with rough grinding cellos and heavier, more progressive arrangements. Most notably is their [[SelfTitledAlbum debut]] which barely resembles what they would sound like a few years later. The album’s most unsettling moments include:
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* Most of the band’s early work falls into this category, with the features slick production and poppy sound pared back with rough grinding cellos and heavier, more progressive arrangements. Most notably is their [[SelfTitledAlbum debut]] which barely resembles what they would sound like a few years later. The album’s most unsettling moments include:
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* ''ELO 2'' is no slouch either with the two chaotic and noisy “boogie” tracks and the 12 minute anti war song ''Kuiama'', which combines moments of calm and dramatic strings with [[BloodierAndGorier surprisingly graphic lyrics]] and a healthy heaping of [[TearJerker tear jerker]]
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* ''ELO 2'' is no slouch either with the features two chaotic and noisy “boogie” tracks and the 12 minute anti war song ''Kuiama'', which combines moments of calm and dramatic strings with [[BloodierAndGorier surprisingly graphic lyrics]] and a healthy heaping of [[TearJerker tear jerker]]
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* The introduction to "Fire On High" sounds like a satanic composition, until you get to the 1:29 mark.
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* The introduction to "Fire On High" sounds like a satanic composition, until you get to the 1:29 mark. And then there's the {{backmasking}}. "The music is reversible, but time is not. Turn back! Turn back! Turn back!" There's something about [[UncannyValley a recognizably-human voice producing noises that no human could ever make]] that's just creepy.
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** The combination of low Geiger-esque notes and faint, haunting [[CreepyChildrenSinging choir rendition of "Rain, Rain, Go Away"]] in the opening of ''Rain is Falling'' easily qualifies, although the remainder of the track is distinctly more downtrodden and ponderous than genuinely creepy.
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** The combination of low Geiger-esque notes and faint, haunting [[CreepyChildrenSinging choir rendition of "Rain, Rain, Go Away"]] in the opening of ''Rain is Falling'' easily qualifies, although the remainder of the track is distinctly noticeably more downtrodden and ponderous than genuinely creepy.
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the {{NightmareRetardant lo-fi vocoders and early '80's digital vocal effects}} employed on multiple occasions:
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the {{NightmareRetardant [[NightmareRetardant lo-fi vocoders and early '80's digital vocal effects}} effects]] employed on multiple occasions:
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the {{Narm lo-fi vocoders and early '80's digital vocal effects}} employed on multiple occasions:
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the {{Narm {{NightmareRetardant lo-fi vocoders and early '80's digital vocal effects}} employed on multiple occasions:
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the [[Narm lo-fi vocoders and early '80's digital vocal effects]] employed on multiple occasions:
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* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the [[Narm {{Narm lo-fi vocoders and early '80's digital vocal effects]] effects}} employed on multiple occasions:
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* Pretty much every song in the album "Balance of Power" has haunting and evocative lyrics [[SoundtrackDissonance set to happy, mostly synthesized, backing music.]] And to say the least, those sort of songs were not what ELO were known for before.
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* Pretty much every song in the album "Balance of Power" has haunting and evocative lyrics [[SoundtrackDissonance set to happy, mostly synthesized, backing music.]] And to say the least, those sort of songs were not what ELO were known for before.before.
* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the [[Narm lo-fi vocoders and early '80's digital vocal effects]] employed on multiple occasions:
**''From the End of the World'' is possibly the album's most major foray into nightmarish territory, owing to its distorted-sounding melody, high-pitched vocals and eerie synthesizer instrumentation. However, its darker tone is justified in that it implicitly describes [[MindRape the singer being brainwashed to believe his own lover in the past has abandoned him]].
**The combination of low Geiger-esque notes and faint, haunting [[CreepyChildrenSinging choir rendition of "Rain, Rain, Go Away"]] in the opening of ''Rain is Falling'' easily qualifies, although the remainder of the track is distinctly more downtrodden and ponderous than genuinely creepy.
**Extending the scope into the album's unreleased songs, ''When Time Stood Still'' is the clearest example of this among them, particularly the stark, slow-hitting rhythm and the breathy, distant quality of the vocals describing the [[NothingIsScarier barren "halls" of space-time]].
* A number of the tracks on the group's 1981 concept album ''Time'' fall into this category, largely due to both the general melancholic motif of loss transcending each of its songs and the [[Narm lo-fi vocoders and early '80's digital vocal effects]] employed on multiple occasions:
**''From the End of the World'' is possibly the album's most major foray into nightmarish territory, owing to its distorted-sounding melody, high-pitched vocals and eerie synthesizer instrumentation. However, its darker tone is justified in that it implicitly describes [[MindRape the singer being brainwashed to believe his own lover in the past has abandoned him]].
**The combination of low Geiger-esque notes and faint, haunting [[CreepyChildrenSinging choir rendition of "Rain, Rain, Go Away"]] in the opening of ''Rain is Falling'' easily qualifies, although the remainder of the track is distinctly more downtrodden and ponderous than genuinely creepy.
**Extending the scope into the album's unreleased songs, ''When Time Stood Still'' is the clearest example of this among them, particularly the stark, slow-hitting rhythm and the breathy, distant quality of the vocals describing the [[NothingIsScarier barren "halls" of space-time]].
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* At the end of "Mr. Blue Sky", there is a vocoded voice from Richard Tandy which says "Please turn me over". It's actually telling the listener to turn the LP over ([[WayPastTheExpirationDate assuming they're still listening to it on an LP]]) and listen to the B side, "One Summer Day", but the way in which he says it is, well, [[LastNoteNightmare haunting]].
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* At There's a particularly notorious example at the end of "Mr. Blue Sky", there is a vocoded voice from when you can hear Richard Tandy which says say "Please turn me over". It's actually telling the listener to turn the LP over ([[WayPastTheExpirationDate assuming they're still listening to it on an LP]]) and listen to the B side, "One Summer Day", but the way over!" in which he says it is, well, a [[LastNoteNightmare haunting]].rather haunting vocoded voice.]]
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* You also have the relatively dark looking album cover for "Afterglow", which you can see [[https://upload.wikimedia.org/wikipedia/en/4/41/ELOAfterglowalbumcover.gif here.]]
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* You also have the relatively dark looking album cover for "Afterglow", which you can see [[https://upload.wikimedia.org/wikipedia/en/4/41/ELOAfterglowalbumcover.gif here.]]]]
* Pretty much every song in the album "Balance of Power" has haunting and evocative lyrics [[SoundtrackDissonance set to happy, mostly synthesized, backing music.]] And to say the least, those sort of songs were not what ELO were known for before.
* Pretty much every song in the album "Balance of Power" has haunting and evocative lyrics [[SoundtrackDissonance set to happy, mostly synthesized, backing music.]] And to say the least, those sort of songs were not what ELO were known for before.
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''Moved to higher ground''
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* "Sorrow About to Fall" is a notorious example of this. The music is ''haunting'' to say the least, and the lyrics are no different. Basically, it tells about the aftermath of a city which has incurred some form of apocalyptic event and that there's a 'sorrow about to fall'. [[NothingIsScarier It isn't made clear]] to the listener what happened to the city or its inhabitants, but one such interpretation is that the city was completely obliterated and the result was few to no survivors. If anything, it's a stark contrast to what ELO were known for in the past.
-->''There's a silence in the city''\\
''There's nobody around''\\
''And everyone that we knew''\\
''Moved to higher ground''
*At the end of "Mr. Blue Sky", there is a vocoded voice from Richard Tandy which says "Please turn me over". It's actually telling the listener to turn the LP over ([[WayPastTheExpirationDate assuming they're still listening to it on an LP]]) and listen to the B side, "One Summer Day", but the way in which he says it is, well, [[LastNoteNightmare haunting]].
*The introduction to "Fire On High" sounds like a satanic composition, until you get to the 1:29 mark.
*You also have the relatively dark looking album cover for "Afterglow", which you can see [[https://upload.wikimedia.org/wikipedia/en/4/41/ELOAfterglowalbumcover.gif here.]]
-->''There's a silence in the city''\\
''There's nobody around''\\
''And everyone that we knew''\\
''Moved to higher ground''
*At the end of "Mr. Blue Sky", there is a vocoded voice from Richard Tandy which says "Please turn me over". It's actually telling the listener to turn the LP over ([[WayPastTheExpirationDate assuming they're still listening to it on an LP]]) and listen to the B side, "One Summer Day", but the way in which he says it is, well, [[LastNoteNightmare haunting]].
*The introduction to "Fire On High" sounds like a satanic composition, until you get to the 1:29 mark.
*You also have the relatively dark looking album cover for "Afterglow", which you can see [[https://upload.wikimedia.org/wikipedia/en/4/41/ELOAfterglowalbumcover.gif here.]]
