...it's like TV Tropes, but LINKED DATA!
Song Style Shift
- 282 statements
- 43 feature instances
- 104 referencing feature instances
| Song Style Shift | type |
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| Song Style Shift | comment |
You're listening to a song on your media source of choice. You're grooving along to the beat and you get to a point where it sounds like you are going to get a Big Rock Ending or a Truck Driver's Gear Change. Not so fast! Instead, the music changes almost completely. It gets faster and more aggressive. As if someone rewrote the song in a different style and pasted that part into the middle of the recording. If done well, it can result in some Crowning Music Of Awesome. Bear in mind that this is ostensibly the same song, rather than a segue (one song, leading to another), a crossfade or a medley (parts of different songs put together). In Hip-Hop and pop derived from it, this can be a form of beatswitch. Often a component of Album Closure. See also Mood Whiplash. |
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Dropped link to Alabama: Not an Item - IGNORE | |
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DBTropes | |
| Song Style Shift / int_156bd899 | type |
Song Style Shift | |
| Song Style Shift / int_156bd899 | comment |
"Suite: Judy Blue Eyes" by Crosby, Stills & Nash can be split into four distinct parts: the "I am yours, you are mine" part; the slower "what have you got to lose" part; the "SPAAA-rrow" part; and finally, the faster "do do do do do" conclusion. | |
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| Crosby, Stills, Nash & Young (Music) | hasFeature |
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| Song Style Shift / int_160c1407 | type |
Song Style Shift | |
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Metallica's "One". Let Beavis and Butt-Head show you what we mean. Also, "Fade to Black". |
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| Song Style Shift / int_165cfefb | type |
Song Style Shift | |
| Song Style Shift / int_165cfefb | comment |
Pentagon has a song called "You Like", which starts off as a ballad with Hui singing over a piano accompaniment. Then Hui coughs and the song changes into a hard hip-hop beat, before finishing as a ballad once again. | |
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| Pentagon (Music) | hasFeature |
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| Song Style Shift / int_229ad916 | type |
Song Style Shift | |
| Song Style Shift / int_229ad916 | comment |
According to a survey done by Komar and Melamid in the mid 90s, this was one of the most disliked musical tropes of the time, resulting in its inclusion in "The Most Unwanted Song". The song shifts between cowboy music, rapping with opera voice, bagpipe music, children's songs and more. | |
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| TheMostUnwantedSong | hasFeature |
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| Song Style Shift / int_246f017b | type |
Song Style Shift | |
| Song Style Shift / int_246f017b | comment |
The Black Angels' "Yellow Elevator #2" becomes much slower and spacier at the halfway mark. | |
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| Song Style Shift / int_2bf7b782 | type |
Song Style Shift | |
| Song Style Shift / int_2bf7b782 | comment |
Sly and the Family Stone's "Stand" | |
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| Song Style Shift / int_2dc0b9e7 | type |
Song Style Shift | |
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Travis Scott and Drake’s “SICKO MODE� is a hip-hop song throughout, but the instrumentation and vibe changes twice — starting off with a rap-sung verse by Drake over a pipe organ, continuing with a bass-driven trap segment led by La Flame, and concluding with verses from both over a ringtone rap-esque beat. | |
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| Song Style Shift / int_2ec798ec | type |
Song Style Shift | |
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Also, "Fade to Black". | |
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| Song Style Shift / int_32f7172 | type |
Song Style Shift | |
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GaMetal songs frequently feature this, mostly to acoustic guitar, but occasionally to orchestra or techno, or once even 8-Bit. | |
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| Song Style Shift / int_33c40a4e | type |
Song Style Shift | |
| Song Style Shift / int_33c40a4e | comment |
"Sudden Heaven", from Fearful Symmetry. It starts off as a weird fusion of country and new wave, but for the bridge and final chorus it slows down and goes psychedelic rock. | |
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| Fearful Symmetry (Music) | hasFeature |
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| Song Style Shift / int_3d9aadc9 | type |
Song Style Shift | |
| Song Style Shift / int_3d9aadc9 | comment |
Eric Church's "Cold One" does this twice. The first verse is laid back with nothing but acoustic guitar and Dobro, and then the rock instrumentation kicks in at the first chorus. Then after the second chorus, the song shifts again to a blistering acoustic guitar solo before returning to the usual tempo. | |
| Song Style Shift / int_3d9aadc9 | featureApplicability |
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| Song Style Shift / int_43304088 | type |
Song Style Shift | |
| Song Style Shift / int_43304088 | comment |
Happens a few times in "Ectasian" by The Ocean. Starts off with piano, cello, and viola, before it goes into a slow sludge doom track, only to turn on a dime into high drive on a Pantera-influenced romp. It changes again into a bizarre robot-voice section towards the end. | |
| Song Style Shift / int_43304088 | featureApplicability |
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| The Ocean (Music) | hasFeature |
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| Song Style Shift / int_464d969d | type |
Song Style Shift | |
| Song Style Shift / int_464d969d | comment |
The Guess Who's "American Woman" - a slow one-and-a-half minute intro followed by a slightly harder second part. The intro is commonly edited out for radio airplay. | |
| Song Style Shift / int_464d969d | featureApplicability |
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| Song Style Shift / int_4a510504 | type |
Song Style Shift | |
| Song Style Shift / int_4a510504 | comment |
"Rocket Queen" by Guns N' Roses starts as standard Appetite for Destruction song (fast, distorted guitars and dirty, dirty lyrics) before changing tempo and moving into a Power Ballad-ish love song in the final 2-and-a-half minutes of the song with a suitably epic Big Rock Ending. | |
| Song Style Shift / int_4a510504 | featureApplicability |
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| Song Style Shift / int_4d09e3b6 | type |
Song Style Shift | |
| Song Style Shift / int_4d09e3b6 | comment |
The Men That Will Not Be Blamed for Nothing take "Margate Fhtagn" back and forth between 'jaunty seaside tune' and 'guttural cosmic horror black metal', eventually settling somewhere in the middle. | |
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| Song Style Shift / int_507dfb6a | type |
Song Style Shift | |
| Song Style Shift / int_507dfb6a | comment |
In EarthBound, Porky's battle theme ("Cease to Exist," more popularly known as "Pokey Means Business") starts off as an almost whimsical-sounding 8-bit boss tune, then suddenly shifts into much more aggressive hard rock/metal about a minute into the song. | |
| Song Style Shift / int_507dfb6a | featureApplicability |
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| Song Style Shift / int_5e32ed02 | type |
Song Style Shift | |
| Song Style Shift / int_5e32ed02 | comment |
Miracle of Sound's BioShock Infinite-inspired song "Dream of The Sky" goes from faux-Christian hymn about the game's city in the sky and White Man's Burden, to a soul music anthem of rebellion that sounds like it could be sung by a prison chain gang, to an Irish folk song about the opression of that minority within the city, back to the hymn for the chorus, to an oddball section about quantum physics, and finally to a Lonely Piano Piece that serves as a Call-Back to his song for the first BioShock game. All of that in one song! | |
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| Song Style Shift / int_63d46319 | type |
Song Style Shift | |
| Song Style Shift / int_63d46319 | comment |
"I Wonder" and "Holyman" by Blind Melon. The first fifty seconds of "Galaxie" is technically a separate composition, an unlisted song officially titled "Hello". Since it's indexed on the same track, it still comes off as this: a slow, jazzy, brass band piece unexpectedly segueing into faster guitar-based Alternative Rock. |
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| Song Style Shift / int_7aa28c6b | type |
Song Style Shift | |
| Song Style Shift / int_7aa28c6b | comment |
“Cloak & Dagger�, from ¡Alarma!. The verses and chorus are zippy “spy music�; the extended outro slows down to half-time, with a languid guitar solo playing over it. | |
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| Song Style Shift / int_7e16bd87 | type |
Song Style Shift | |
| Song Style Shift / int_7e16bd87 | comment |
One of the more noticable differences between pre-Aramary and post-Aramary Sound Horizon is that, besides getting significantly longer, songs have taken to shifting gears or even musical genres in the middle of them. | |
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| Song Style Shift / int_81fec48 | type |
Song Style Shift | |
| Song Style Shift / int_81fec48 | comment |
"Tonight Belongs To You" from The Prom begins as swing jazz, then shifts to hard rock for the third verse, then to disco for the finale. | |
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| Song Style Shift / int_86a2e1b6 | type |
Song Style Shift | |
| Song Style Shift / int_86a2e1b6 | comment |
BABYMETAL have a few of these - "Iine!", "Uki Uki ★ Midnight" and "4 No Uta/Song 4". | |
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| Song Style Shift / int_89c084b2 | type |
Song Style Shift | |
| Song Style Shift / int_89c084b2 | comment |
The Rolling Stones' "Can't You Hear Me Knocking" shifts from a hard rocking howler to a gentler but building sax solo piece that takes up more than the last half of the song | |
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| Song Style Shift / int_9ad7adc8 | type |
Song Style Shift | |
| Song Style Shift / int_9ad7adc8 | comment |
Most of The Who song "Baba O'Riley" is standard hard rock, but the coda of the song changes into a fast-paced polka that rapidly builds to a climax. | |
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| Song Style Shift / int_9b3518ef | type |
Song Style Shift | |
| Song Style Shift / int_9b3518ef | comment |
Johann Sebastian Bach used this in the 18th century. Unique among J.S. Bach's organ fugues, the Fugue in E-flat Major shifts between three themes with radically different characters and styles while maintaining the fugue's underlying melody, which appears several times throughout the whole work. Another Bach piece with a Song Style Shift is the cantata Erfreut euch, ihr Herzen (BWV 66), specifically the fourth movement. Bei Jesu Leben freudig sein. This movement is technically a recitative, but it actually shifts styles two times. The movement starts out as a solo recitative. The first time it shifts, the movement turns into an interesting and unique duet (see the Let's Duet page for more details). The second time the movement shifts styles is directly after the duet; the movement shifts back to a recitative format, only now it is a dialogue between the two duetters. The cantata Ich hatte viel Bekümmernis (BWV 21) is practically made of this trope. Almost every movement has some sort of Song Style Shift, and they all help make this cantata one of Bach's highest quality works. Bach's Mass in B minor also has many movements with Song Style Shifts. One quite jarring example is from "Gloria in excelsis deo", in which the loud, epic chorus transitions to a slow, soft one before gradually becoming as loud as it was at the start of the movement. Another example from Bach's works is the 2nd movement of Christ lag in Todes Banden (BWV 4). Each movement of the cantata ends with a "Hallelujah!". The "Hallelujah" from the second movement is in a different style than the rest of this movement. |
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| Song Style Shift / int_a4d6aa13 | type |
Song Style Shift | |
| Song Style Shift / int_a4d6aa13 | comment |
ME!ME!ME! feat. daoko shifts song style constantly, justified by the story telling of the Animated Music Video. | |
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| Song Style Shift / int_b4967d43 | type |
Song Style Shift | |
| Song Style Shift / int_b4967d43 | comment |
Sonic the Hedgehog: "Never Turn Back"note performed by Crush 40 from Shadow the Hedgehog starts off as a slow, melancholic piano piece, before the percussion kicks in and the song becomes guitar-heavy rock for the rest of its duration. Infinite's themenote performed by Tyler Smyth of Dangerkids from Sonic Forces starts as a generic glitch hop beat. Then it drops, and immediately shifts into some of the heaviest metal in the entire franchise, with the occasional dubstep/glitch hop shining through. |
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| Song Style Shift / int_b6173fe7 | type |
Song Style Shift | |
| Song Style Shift / int_b6173fe7 | comment |
Live's "Lightning Crashes" starts off as a quiet electric guitar theme then slowly adds more drums and guitars and turns into a loud, moderately fast-paced alternative rock song. | |
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| Live (Music) | hasFeature |
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| Song Style Shift / int_b61d8be6 | type |
Song Style Shift | |
| Song Style Shift / int_b61d8be6 | comment |
Zedd's "Hourglass" starts off as a drumbeat-heavy pop rock song with a ticking clock and then switches midway through to progressive house. | |
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| Zedd (Music) | hasFeature |
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| Song Style Shift / int_b7903143 | type |
Song Style Shift | |
| Song Style Shift / int_b7903143 | comment |
"The Nameless" by Slipknot is a prime example of this. It starts aggressive and hard then switches into an almost pop-like chorus then switches back and builds up until the final chorus retains the melody but is much harder. Its jarring but fits the story of the song as its about the cycles of a dysfunctional relationship. | |
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| Song Style Shift / int_bf6060c9 | type |
Song Style Shift | |
| Song Style Shift / int_bf6060c9 | comment |
"In The End" off of Fly by Night by Rush. The first half takes things nice and slow, and then, BAM, Alex Lifeson out of nowhere. | |
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| Fly by Night (Music) | hasFeature |
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| Song Style Shift / int_cc32f7c3 | type |
Song Style Shift | |
| Song Style Shift / int_cc32f7c3 | comment |
"Supernaut" by Black Sabbath is a heavy boogie, but has a Caribbean flavored acoustic shuffle in the middle. "Symptom Of The Universe" does something similar, starting as a heavy metal tune before going into another acoustic shuffle at the end. In the case of "Symptom Of The Universe", the ending was originally an unrelated in-studio jam. | |
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Queen: "Bohemian Rhapsody" starts off as a mournful apology song, but after a long guitar solo turns into something faster-paced and more whimsical and finally ends back on the apology tone. The operatic part in the middle makes sense given the album it's in: A Night at the Opera. "Innuendo" starts out as Middle Eastern style hard rock. After the second chorus, it changes into slow acoustic part, then into flamenco, then into opera and finally back into hard rock. |
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"Concrete Angel" by Hannah Diamond starts out as a Synth-Pop ballad, before the Trance-like breakdown in the midsection—then the final thirty seconds brings in some abrasive, glitchy synths. Interestingly, this version is a cover of an EDM song that originally doesn't have any style shifts whatsoever. | |
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Mannheim Steamroller does several Christmas Songs (like "Fum, Fum, Fum" and "Masters In This Hall") that start out sounding Medieval or early Renaissance before transitioning to New Age rock. (Interestingly, this was inspired by their treatment of "God Rest Ye Merry, Gentlemen" in which the two versions were separate tracks; the mid-music shift took a few years to become a thing.) | |
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"Bohemian Rhapsody" starts off as a mournful apology song, but after a long guitar solo turns into something faster-paced and more whimsical and finally ends back on the apology tone. The operatic part in the middle makes sense given the album it's in: A Night at the Opera. | |
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"I Am The Beast" by Lingua Ignota builds and builds, with her singing only accompanied by a harpsichord and some eerie creaking noises, before suddenly dropping into a loud, Industrial wall of noise and screaming. | |
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"Vicarious Redemption" by Cult of Luna is a slow and dreary post-metal epic that suddenly drops into Dubstep, before going back into a crushing rhythm. | |
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Pantera's "Cemetery Gates" starts out with an acoustic guitar, then shifts into an aggressive heavy metal tune. | |
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"The Cheat Is Not Dead" is for the most part a fairly slow-paced ballad - until it breaks into an incredibly upbeat groove for the last 40 seconds. | |
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Awolnation's "Knights of Shame" fuses a TON of music styles. | |
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Thank You Scientist has "Birdwatching" from Terraformer, which starts off as a slow, almost melancholic synth and guitar driven song before suddenly switching to breakcore. | |
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Gordon Lightfoot's "Canadian Railroad Trilogy" goes from upbeat to gentle ballad and back again. | |
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