It’s a statement.
This is a rejection of modern harmonic theory present in pop music by applying polytonality to contrary melodies. By placing the secondary key precisely at the tritone, it awakens one’s mind to the harmonic landscape possible within even the limited scope of the Western chromatic scale. It begins with the discordant bit, but briefly breaks to moderate stability with the vocals and the main melody. But then, it the secondary and tertiary keys break into the song, shocking your senses instantly. This is a radical deviation of the typical expectations of something like, this kind of pseudo-house music in a racing game. It is a profound meditation on genre, tonality and harmony.
This song is not a mess, it’s a masterpiece. It’s part of a long lineage of musicians like Schoenberg, Stravinsky… before them, with Bach… probably extending beyond recorded musical history. We need to wake up and recognize the immense harmonic universe available to us, beyond monotonality, beyond the Western chromatic scale. beyond tonality itself. No one is going to stop them now, baby. No one is going to put them down.
Or, you know, they just made a blooper on the MIDI files.