Zombies and the uncanny fit together quite naturally: Sigmund Freud’s famous account of the experience of terror via encounters with the uncanny—the unstable admixture of the familiar-unfamiliar, signifying the return of the repressed—maps neatly on the figure of the cinematic zombie, especially since the emergence of the archetypical cannibal ghouls of George A. Romero’s “Living Dead” films. This chapter, however, argues that zombie movies are not only terrifying: Many are also funny, and that music plays a key role in emphasizing the uncanny ambiguity of zombies—that is, that they are somehow at once frightening and humorous. Indeed, zombies may be inherently funny, precisely because they are uncanny. Even the most iconic and intensely frightening zombie films contain moments of humor and laughter, and Freud himself recognized that the uncanny relates directly to the comic, the latter—and specifically, the structure and function of jokes, with their reliance on incongruity and distortion—drawing from the very same source—namely, the unconscious—that provides the former’s sense of disquieting uncertainty and terror-inspiring ambiguity. In this chapter, four case studies are presented—Dawn of the Dead, Day of the Dead, Zombieland, and Shawn of the Dead—with a focus on the role of music in underscoring the uncanny interplay between comedy and horror in zombie cinema.