...it's like TV Tropes, but LINKED DATA!
New Sound Album
- 1179 statements
- 175 feature instances
- 742 referencing feature instances
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So, there's Band X. Band X has become popular and generally well-received by critics quite a while ago and are known for a certain style. However, Band X decide to do something completely different for their next album, for whatever reason. Maybe they're tired and believe they've taken their style to the limit. Maybe they're afraid of being one-trick ponies. Maybe it's Executive Meddling. Regardless, the result will be a change of style. This can be either a total Genre Shift, general simplification for bands with highly complex styles (thrash metal, prog rock, etc.), more prog tendencies for simple pop-rock bands, or sometimes even becoming purely pop bands, whatever. The point is that they will continue with this style for a period, to either continued success or diminishing returns. Cue shock and They Changed It, Now It Sucks! from parts of the fanbase, along with a whole spectrum of opinions from others. The New Sound Album represents an album where a band generally known for a certain style backs away from its roots and makes a radical change, if not a total Genre Shift. Reactions to this tend to vary. There's always a segment of the fanbase that says They Changed It, Now It Sucks! and labels them as sellouts, even ignoring that sometimes the band honestly admits to wanting a change. In other parts there's a whole range of reactions, from mixed to positive. In the worst case the album will divide a fanbase into Old Guard Versus New Blood, and in the best case a majority of fans will enjoy both periods of the band's career. When this happens, fans will usually cite the album as a case of Growing the Beard. Often times, the New Sound Album serves as a springboard into a new phase (genre-wise) of the band's career, when looked at in retrospect. Contrast Formula-Breaking Episode, where the change is usually temporary, and the artist goes back to their old sound with the next album. Also see Creator's Oddball. Examples |
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Marina Diamandis started off with indie pop with Retraux influences, but starting with Electra Heart she switched to an electropop sound. Apparently, the critics were the only ones saying "She Changed Her Music, Now She Sucks", as it was acclaimed by her fans. | |
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Dream Theater does this quite often, the most notable one being when Executive Meddling forced Falling Into Infinity to take on a more mainstream rock sound than the Progressive Metal of their earlier and later albums. Train Of Thought was this, as it introduced a much heavier and more modern Dream Theater. |
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If you listen to The Velvet Underground's four albums, none of them sound exactly the same: The Velvet Underground & Nico: Eclectic art rock White Light/White Heat: Loud garage rock The Velvet Underground: Mainly folk rock Loaded: Pop |
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From Elvis in Memphis was a new sound album for Elvis Presley as it showed him perform musical genres from his native city Memphis, Tennessee, like country and soul. At the time it was his first non-soundtrack album in nearly a decade and he actually choose music he wanted to do, rather than have his manager make this decision for him. Another unique album in Elvis' career is Having Fun with Elvis on Stage, an atrocious piece of garbage where his manager just edited several bits of stage conversations together, devoid of any context or music, and released it as an album. When Elvis heard about this he personally made sure this record was withdrawn from the stores. | |
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The Ritual is probably best described as the band's Black Album, going for a more traditional metal sound with some songs still being thrashy and others the least the band ever had been at the point. The song lengths also took a massive jump, with three songs over six minutes and one over seven, and the album itself being roughly 15 minutes longer than the previous one and almost 10 minutes longer than prior longest Practice What You Preach. | |
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Kathy Mattea was best known for her country, bluegrass, and folk influences. 1994's Walking Away a Winner was considerably more pop and rock influenced, leading to favorable comparisons to Bonnie Raitt. | |
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Sign o' the Times was made after The Revolution disbanded and emphasised stripped-down arrangements. | |
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Machine Gun Kelly's Tickets to My Downfall: his previous album, Hotel Diablo added some Rap Rock elements to his usual Hip-Hop style, but Tickets to My Downfall took it a step further, with Kelly largely singing instead of rapping. Critics have referred to it as a throwback to the early 2000s Pop Punk scene. | |
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The Now Now was another tour-inspired Breather Episode Album made in large part in response towards criticism that Humanz had too many features, once again largely centered around 2D as the sole performer. This time, it went in a more acoustic, retro-inspired direction with roots in soul, Synth-Pop, and New Wave. | |
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Purple Rain emphasised the rock and pop parts of the equation with a slight influence from psychedelic rock and represented the debut of The Revolution. | |
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The Happy Video Game Nerd: Thatz a Rap. | |
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Kacey Musgraves's 2018 album "Golden Hour" is much more 70s pop/soft rock a la Fleetwood Mac or The Bee Gees than her other two albums which are more or less straight country. Her next album, 2021's star-crossed, pushed her further into pop territory. | |
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The Rasmus did this with the release of Dead Letters. Possibly a case of Executive Meddling, maybe just a bad change of direction whilst trying to Break America/Rest-of-English-Speaking World, but... Energetic and thoroughly enjoyable (if not particularly special) Finnish pop-rock band tries for some strange pop-goth-electronica vibe, falls spectacularly flat, ends up generally derided by the English-Speaking-World goth rock-listening public and having one single, solitary, not very representative song played to death on commercial rock radio. Shame, a couple of the album tracks that hark slightly back to their old sound (which would likely have done well in the pop charts) are excellent, but the rest of it is a pretty forgettable dirge. - YMMV, naturally. They made 2 future albums in a similar genre. | |
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Modest Mouse changes their sound on each of their albums, starting with the pixies-esque "This Is A Long Drive...", followed up with the more western sounding "Lonesome Crowded West", and the spacey "Moon & Antarctica." "Good News For People Who Love Bad News" was more straightforward rock with a few soft ballads, and We Were Dead Before the Ship Even Sank has a more produced feel. | |
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The Velvet Underground: Mainly folk rock | |
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Cruising with Ruben & the Jets: A total break with Zappa's image: no satire, no bawdy comedy, no experimentations, no political messages, but a Homage to Doo-wop music, which was totally unpopular at the end of the 1960s. | |
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Like Muddy Waters, Howlin' Wolf fell to a new low with his "psychedelic blues" album, The Howlin' Wolf Album. Not only were his fans disappointed like Waters', he himself expressed his own disgust for it right in the liner notes. | |
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Faith No More's Angel Dust mostly abandoned the funk-metal sound of the band's previous albums. It was the second album to feature Mike Patton, but the first in which he was involved from start to finish. Consequently, the album benefits from his ideas and the fact that he no longer had to sing in an unnatural style to accommodate the band. It's a much heavier album than their first three, while also drawing on an eclectic variety of influences and an equally varied collection of samples ("Midlife Crisis" samples both Simon & Garfunkel and The Beastie Boys). | |
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Rhapsody of Fire underwent a rather drastic change between Power of the Dragonflame and Symphony of Enchanted Lands II. Whereas albums up until Power were more like music that told a story, Symphony II onward focused more and more on the story rather than the music, building up the cinematic feel almost to the point where the Dark Secret Saga feels more like a movie without the pictures as opposed to the story-telling music of the Emerald Sword Saga. Fan opinion on which style is better tends to be divided. | |
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Chunga's Revenge, Fillmore East, June 1971, 200 Motels and Just Another Band from L.A.: a more blues rock oriented sound with two new lead singers, Mark and Howie from The Turtles. The lyrics are far more bawdy and mostly center around rock bands on tour and their sleazy intercourse with groupies. There is also more emphasis on songs that have the allures of a comedy sketch with just a drum in the background as musical accompaniment. | |
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Cathal Coughlan. To begin with, his duo Microdisney played post punk that consisted of him yelling political rants over an uneasy backing track (evidenced by the compilation only track 'National Anthem'). By the time they had released their first record, they had acquired a minimilalist indie sound, with melodic synths, jangly guitars and drum machines, the vocals despairing and cynical. Come their second album, they had acquired a proper backing band including a drummer and bassist. He also changed his vocal style so that it was louder and more positive sounding. The resulting album almost sounds like adult orientated pop music, but there are still traces of the old sound in there. The next album was an even greater change, the band adding violins and female backing singers. The following album, their last, was far more lyrically biting, and with less of a chart orientated sound. The music was still fairly upbeat though. When Microdisney broke up Cathal went on to form The Fatima Mansions, who played a combination of American influenced noise rock, grunge and electronica with a mostly completely different vocal style, many songs shouting instead of singing. After that band broke up, he recorded some somber solo albums. His latest album however is far more reminiscent of the music he used to make in the mid 80s, suggesting that some things come full circle. As he is somebody who has never been after a hit, the return to form seems all the more remarkable. | |
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We're Only in It for the Money: Again a collage sound, with mostly rock, but avant-garde classical music too. Protest songs about the hippie culture, which was very audacious back in 1967, and songs satirizing police, parents and the square people. Apart from that Zappa introduced songs like "Let's Make the Water Turn Black", full with inside jokes incomprehensible to other people. | |
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Napalm Death: Harmony Corruption onwards, when they started to take on death metal influences. | |
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Enter Shikari's first album, 2007's Take To The Skies, was more or less Metalcore with some synthesizers. Their second full-length, 2009's Common Dreads, aimed for a less heavy but more experimental sound and also made the lyrical change from singing about more or less anything to highly political, anti-capitalist lyrics. 2010's one-off single Destabilise went even heavier on the synths and also added some hip hop elements. According to the band, the forthcoming album is going to include influences by both Sigur Rós and Rammstein. | |
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The 1970 album Songs of the Humpback Whale was the first album released to the public featuring nothing but sounds of singing whales. Yes, whales have been around for centuries, so in that sense this album didn't offer anything new, except for the fact that humans had always believed these animals were mute. To hear them actually produce sounds was a big surprise to many listeners in 1970. | |
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Chris Cornell's Scream, combining his rock crooning with producer Timbaland's trademark R&B and pop. It tanked miserably, being described as "an exercise in misguided ambition that makes no sense outside of pure theory". | |
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One of the most unique aspects of Rush is that they have many "eras". They start out with a new sound album, continue to perfect with the sound for about 2 to 4 albums, then they will shift to a completely new rock sound for their next album. Their self-titled debut album (released prior to virtuoso drummer/lyricist Neil Peart joining the band) to Fly by Night were pretty straightfoward 70s bar-band fare ala Bad Company or Led Zeppelin. Enter Peart with Fly by Night, and suddenly the lyrics become sci-fi and the drumming much more technical, but the overall song structures still pretty straightforward hard rock. Caress of Steel to Hemispheres had the band started to move into prog territory, with very long multi-part epics, including the very popular 2112. Permanent Waves and Moving Pictures had the band ditching long-form numbers and Geddy Lee's highest vocal tessitura in favor of more controlled and radio-friendly songs. Signals to Hold Your Fire threw the band into a New Wave influenced synthesizer-based sound and went for a more poppier approach, which lasted throughout The '80s. Presto and Roll The Bones had the band throwing the synths into the background and the guitar was now back into the foreground. It still had a pop-rock sound to them and the band experiment with many genres on Roll The Bones, such as electronic, funk, and even hip-hop. Counterparts had the band ditched their poppier synth-laden sound in favor of a grunge-influenced sound sound that was met with commercial and critical success at the peak of grunge's popularity. They heavier sound has been part of the band ever since, with Clockwork Angels moved the band back to a '70s sounding heavy-prog. Some Rush fans have noticed that the album following an official Live Album would be a New Sound Album. They seem to have abandoned this since their 2003 return to regular recording and touring. |
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Chiodos has done this multiple times. Their first few EPs were emo-tinged pop rock with some post-hardcore influences, with the first full length album All's Well That Ends Well going straight into post-hardcore territory. The second full length Bone Palace Ballet had more influences from classical music (with some gothic tinges in certain songs). 2010's Illuminaudio is alternative rock with electronic influences. | |
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Beck, on every single album. Banjo Story (his first full-length album) - Banjo-based lo-fi Freak Folk (interestingly enough, the album released in 1988, almost a decade before it became a named subgenre!) The oft-forgotten Fuck Iowa - A collection of Punk Rock and Heavy Metal, with the occasional step into Spoken Word. Golden Feelings - A bizzaro hodgepodge of straightforward Folk, Noise Rock , Heavy Metal, Punk Rock and Freak Folk, all joined together by production that sounds like early Ween if all the amps had been slashed and thrown down the stairs before recording and the tapes were then played backwards and corrupted. This was his Signature Style for a good few demo tapes before the album's release, and crossed over into it's direct successor Stereopathic Soulmanure. One Foot in the Grave - Lo-Fi Folk/Folk-Rock. Mellow Gold acts as a culmination of sorts to everything he did between 1988 to 1994, containing everything from Hip-Hop to Folk, to Freak Folk, to Rock 'n' Roll, to Drum 'n' Bass to psychedelia to Heavy Metal to... whatever the hell Sweet Sunshine is, all wrapped up in slightly more conventional production. Odelay - Beck combining hip-hop-esque production from The Dust Brothers, sampling everything from Bob Dylan to obscure Sex Education films from the 60's, mixed with pretty much every other genre known to man, creating the Genre Mashup classic we know and love. Mutations - A more conventional mixture of Folk Rock, Blues Rock and Psychedelic Folk. Midnite Vultures - To put it simply, the Hotter and Sexier version of Odelay: to expand, a mixtape of that album's Genre Mashup sensibilities, this time with Funk, R&B, Hip-Hop, with a little bit of Jazz thrown in there for good measure. Sea Change - A nonstop Tearjerker of a Folk Rock album, inspired by the likes of Nick Cave , Elliott Smith and Bob Dylan's Seminal album. It's widely considered his masterpiece and is one of the most popular 'breakup albums' ever produced. From Guero onward, he's no longer been radically changing his sound on each release: but maybe it only seems that way, because (by now) he's already explored every possible genre, and even then most albums since then have innovated his sound in some way. The Information - Whilst partly just Beck doing his thing, the album boasts heavy Psychedelic Hip-Hop elements. Modern Guilt - Alternative Rock with some elements of Prog, with a heavy emphasis on apocalyptic lyrics. Morning Phase - Standard Folk Rock. Colors - Radio-friendly Dance-Pop, creating a sizable Broken Base in the process. 'Hyperspace'' - Minimalist Psyche-synth-pop, notable for being almost completely unrecognizable from anything Beck's done before, showing that, even 31 years into his career, he still refuses to settle down! |
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The Life of Pablo is a kaleidoscopic mix of different styles with everything from 'old Kanye' style soul samples and gospel to House Music and trap. | |
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The Ocean started off their first three albums with a mixture of aggressive hardcore-influenced progressive sludge metal and slow, heavy, dark atmospheric doom metal. Heliocentric and Anthropocentric changed everything with far more clean singing and melodies, and even additions of ballads. | |
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FT Island started off with rock ballads with some upbeat songs on the side. The third album "Cross and Change" promoted a much less melancholy song and is mostly upbeat songs with some rock ballads on the side. Though they still write and perform rock ballads, nowadays they focus much more on rockier and upbeat songs compared to their first few years. | |
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Pinkerton is the most famous example in the band's history. It strays away from the clean radio-friendly power pop sound that producer Ric Ocasek helped develop on Weezer (The Blue Album) in favor of a rawer sound with pulsing drums, thumping basslines, and even crunchier guitars. It caused quite a bit of controversy among fans when the album was first released that Weezer soon went back to their old sound with their follow-up, The Green Album, although Pinkerton was soon Vindicated by History. | |
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Permanent Waves and Moving Pictures had the band ditching long-form numbers and Geddy Lee's highest vocal tessitura in favor of more controlled and radio-friendly songs. | |
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Burnt Weeny Sandwich: Mostly instrumental songs and two sung covers. | |
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Samantha Fish's Chills & Fever added horns, and shifted direction from pure blues to a mix of blues, garage rock, and R&B. It put more emphasis on the vocals, and not as much on Fish's flashy guitar work, and generally had a more sexy feel than her earlier, in-your-face work. Critics loved it, but the fan reaction was more mixed. | |
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Alan Vega initially produced proto-industrial avant-rock with the group Suicide in The '70s, but in The '80s, he switched to New Wave, then went back down the Darker and Edgier path to Industrial. | |
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Guns N' Roses did this for every album. From the sleazy L.A. club rock of Appetite for Destruction to mellow acoustic tracks on G N'R Lies to a double album full of epics and ballads with plenty of synth and pianos. Then Chinese Democracy came out with an entirely new band and featured hip hop drum samples, copious amounts of synth and strings, trip hop beats, industrial songs, elephant noises, alt rock, choirs, walls of Axl, some songs featuring upwards of FIVE guitar players. Sometimes all in one song. Not surprising, Chinese Democracy is so far from the original GNR-sound that most fans don't even count it as a GNR-album. The new sound on Chinese is justified in that every guitar player has their own unique style, and Slash, whom fans consider the real lead guitarist in GNR, had no involvement in making the album (since he left the band before Axl started making the album). One that stands out is Robin Finck, best known for his involvement with Nine Inch Nails, who is featured in all tracks and co-wrote half of those, showing that Axl Rose wanted the industrial sound to be the one that stood out. |
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Heaven and Hell, their first album with Ronnie James Dio, certainly counts. It returned to the heavy metal sound from before Ecstasy but largely downplayed the psychedelic and Doom Metal influences from the Ozzy years in favor of more traditional metal, Power Metal and even Speed Metal influences (doomy songs were however still written, just a lot less). | |
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Lumpy Gravy: A very intimate musical collage of instrumental music, sound effects, distortions of tapes and surreal conversations. | |
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Hot Rats: A more jazzy sound, mostly instrumental except for one track. | |
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Machine Head started off as straightforward Groove Metal for their first two albums. Their next two albums brought in Nu Metal, but for some reason, they switched back to Groove Metal for Through the Ashes of Empires. Four years later, they made the ultimate change; switching to Thrash Metal with The Blackening, even adding several long songs, a then-first for the band. Unto the Locust continued this, and whatever they do next...well, we'll have to wait and see. | |
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Celtic Frost started out as a straight-up heavy metal band of the black/death style, with a Venom look. Then they incorporated electronica into their sound, a heresy at the time. Then they came out of nowhere with 'Cold Lake', which had them looking like a hair metal band and with a glam rock sound. Then they came out again with a new school black metal sound, their current incarnation, with a different band member singing and a more Rob Zombie-esque visual look. | |
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Parodied in the exhaustive fictional back-story of Spinal Tap. Their discography touches on moptop rock (the "Gimme Some Money" 45), psychedelic rock (their debut LP and We Are All Flower People), extended live jams (Silent But Deadly), proto-metal (Brainhammer), progressive rock (The Sun Never Sweats), glam rock (Bent For The Rent), disco (Tap Dancing), and of course, heavy metal itself. Not to explain the joke or anything, but this is of course a pastiche of several famous bands of the 60s and 70s, particularly The Beatles, Pink Floyd, and Led Zeppelin. We Are All Flower People in particular seems to be intended to have been a mix of Sgt. Pepper and Piper at the Gates of Dawn. |
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However the transitions are so gradual that in many cases it's difficult to pinpoint exactly which one is the New Sound Album. The Dark Side of the Moon is not so different from Obscured By Clouds, which is not so different from Meddle, which is not so different from Atom Heart Mother... yet Atom Heart Mother and The Dark Side Of The Moon are worlds apart. | |
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Behemoth started incorporating Death Metal into their mostly up to that point Black Metal sound in the album Satanica, and have continued this movement on each subsequent album. | |
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Spawn of Possession still maintains being a Technical Death Metal band, but their 2012 album Incurso puts more of a focus on creating a horror atmosphere than earlier releases. | |
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Papa Roach's first three albums were heavily influenced by Nu Metal and Rap Metal. Their fourth 2004 album Getting Away with Murder abandoned nu metal completely for Alternative Metal with Hard Rock leanings, and all rapping was completely removed. They maintained this sound all the way until 2012's The Connection, which featured the return of rapping and nu metal elements, described as a cross between old and new. 2015's Face Everything and Rise made the nu metal elements even more prominent, and while it's not a complete return to their roots, it is easily their most nu metal-sounding album since 2004. | |
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Starting with Massive Killing Capacity, Dismember makes the full transition to Melodic Death Metal they've been known for influencing. | |
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Sevendust's first album featured rawer production, simpler writing, harsher vocals, less melody, and a more aggressive sound. Home was more melodic, leaning a little closer to the band's signature style, but still maintaining a similar sound to their debut. Animosity brought in the real change, with much stronger songwriting and a much more melodic sound. From then on, the band has made little alterations to their music. | |
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A soundtrack example would be the Silent Hill series. The first game's soundtrack consisted mostly of scary mechanical and industrial noise tracks, with only a handful of tracks which are actually 'music'. Silent Hill 2 saw a much greater focus on music and acoustic tracks. The third game started the trend of tracks with vocals by Mary Elizabeth McGlynn and Joe Romersa. The series' sound stayed like this for years, but is changing again with the departure of longtime series sound developer Akira Yamaoka. His replacement for Silent Hill: Downpour is Daniel Licht, whose style is very different. | |
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Heart changed styles several times. Their debut album Dreamboat Annie is trippy psych-folk. The following album Little Queen abandoned the psychedelia of the debut in favor of straightfoward hard rock. In The '80s, they signed a record deal requiring them to adopt a pop sound and image and use outside professional songwriters. The first result of this was the 1985 self-titled album Heart. This was followed by the very synth-heavy Bad Animals album, then Brigade, which was a return to guitars, but was still very polished pop. With Desire Walks On, the band regained creative control and began moving back to their traditional sound. | |
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Seven years later they were suddenly making new-wave-esque prog with world music influences, in Discipline and Beat. Three of a Perfect Pair went in two different directions simultaneously, with half the tracks being fairly conventional pop songs and the other half being improvised frightening abstract soundscapes. | |
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Avenged Sevenfold started as pure Metalcore on "Sounding the Seventh Trumpet" before adding cleaner vocals on their sophomore album "Waking the Fallen". But their biggest change came on "City of Evil", which contained clear vocals and musically mixed old-school Thrash Metal with the melodic ferocity, breakdowns, and Pop Punk/Post-Hardcore elements of modern-day Metalcore. Their self titled album continued in this direction, although it was more polished. This rankled some fans, as well as having many examples of an Out-of-Genre Experience such as the Danny Elfman style "A Little Piece of Heaven"note which even had horn arrangements by Oingo Boingo guitarist/co-arranger Steve Bartek and the country ballad "Dear God". "Nightmare" was released after the death of drummer "The Rev" and was more reflective, as well as featuring a piano ballad called "Fiction" and the pure Metalcore (screamed lyrics and all) of "God Hates Us". Then there was "Hail to the King" — which has been described by lead singer M Shadows as "more Blues Rock-influenced and more like classic rock and classic metal in the vein of Black Sabbath and Led Zeppelin". Their seventh album The Stage switched their style again, this time to Progressive Metal, complete with Epic Rocking, and included elements of Thrash Metal as well as their old Metalcore sound. | |
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The Grand Wazoo and Waka/Jawaka: Jazz albums, mostly instrumental, with less emphasis on songs. Comparable to Hot Rats in that regard. | |
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Lil Yachty made a name for himself as a cloudy trap rapper with his Lil Boat series, dabbling sporadically with occasional Pop Rap or aggressive Michigan trap sounds here and there. Then he released Let's Start Here in 2023, which took a huge detour by being a full-on Psychedelic Rock album, featuring a few thumbprints like his auto-tuned voice, but otherwise completely eschewing the hip-hop elements. | |
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Sentenced had 1996's Down, which saw the Death Metal band move to a melodic Gothic Metal sound that they would continue on for the rest of their careers. There was also a lesser earlier example in 1993's North From Here, which was way more melodic than their very brutal and raw debut Shadows from the Past. | |
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Gentle Giant has seen this happen twice: a mild case occurred when Phil Shulman (who played saxophones, trumpets, and occasional other winds) left the band, and their next album, In A Glass House, had a harder edge and none of the literary allusions that Phil had put in their earlier albums. This shift was nothing compared to their later album The Missing Piece, released around the time that Progressive Rock was falling out of favor, and attempting to appeal to a pop audience with shorter, simpler songs. It didn't work. | |
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Muswell Hillbillies had a heavy Country Music influence, and could also be seen as an early pub rock album. | |
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Nilsson Schmilsson saw Harry Nilsson switch from Tin Pan Alley-styled pop (with a heavy Beatles influence) to more straight-ahead (though eclectic) rock. And A Little Touch of Schmilsson in the Night consisted of nothing but traditional pop standards. |
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The Cruxshadows were standard darkwave up until Wishfire, whence they changed to a blend of Futurepop and Gothic Alternative Dance. | |
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Pendulum started out as a mainly D'n'B band when their first album, Hold Your Colour, was released. The next two albums, In Silico & Immersion, branched out more into different genres and styles. Despite the albums selling like hot cakes, it still doesn't stop people from complaining. Their next album is reportedly going to be more punk rock influenced. Time will tell how that ends up going. |
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Sound Horizon made a significant shift in musical stylings between Elysion and Roman - songs became longer, the primary genre shifted from Baroque Pop to Symphonic-Progressive, and a larger, rotating roster of vocalists (including the band's founder/composer/lyricist/guitarist/accordionist/bagpipes player/occasional pianist, Revo) was introduced to replace Aramary, who had resigned from the band for personal reasons. While there were (and still are) some detractors that weren't happy with Aramary's resignation, the change has worked out rather well for them, and they've been carrying on in this direction since. | |
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The latest album, The Pale Emperor, was made by Manson and soundtrack musician Tyler Bates. The genre, according to Manson's Facebook page, is "Suicide Rock". It's a metal/blues infusion with a very cinematic feel, and has been pretty much universally praised by fans and reviewers alike, a distinction that hasn't existed since 2000's Holy Wood. While Manson described Born Villain as the comeback album, this album will be remembered as the true one, even bringing a career revitalization, a tour with The Smashing Pumpkins, an expansion of Manson's already praised television and film career, and the most praised live shows since the Golden Age of Grotesque era, with Manson on top of his game once more, singing better than ever, and in shape. According to interviews, the last one was motivated by his role on Sons of Anarchy, which apparently spawned a fear that, if he ever did time, due to his physique and reputation at the time, he'd be a prison bitch, so he started working out. Seriously. He's even done some images shirtless, something he hadn't done in over a decade due to his weight. | |
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ill niño has done this with every album. They are a Latin-infused metal band, but they have a different sound with time. Their debut was straightforward nu-metal with an aggressive sound and simple song structures. Confession is pretty much a heavier version of pre-Minutes to Midnight Linkin Park. One Nation Underground is a metal Genre Roulette, going from a Groove Metal-esque anthem to a Metalcore song to a mainstream hard rock song in the album's first few minutes. Enigma took the Latin influences to another level, and erasing the band's Nu Metal influence in place of a Progressive Metal sound. Dead New World left behind much of the Latin, and switched to a much more aggressive sound similar to Thrash Metal/Groove Metal, but with a much more modern feel than the former. Epidemia is heavily influenced by Deathcore, with one song even featuring Frankie Palmeri of Emmure as a guest singer. | |
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Art Rock (Hunky Dory) | |
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Black Rebel Motorcycle Club started out with a loud, aggressive "rock revival" sound with noise rock and psychedelic influences. With Howl, they suddenly shifted to an acoustic-based Americana folk-rock sound influenced by blues, country and gospel. Baby 81 returned to the rock sound, and after the ambient instrumental album The Effects of 333, Beat the Devil's Tattoo was a sort of middle ground between the two sounds. | |
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The All-American Rejects started as a pop-punk band similar to blink-182. Move Along saw them move to a heavier area of pop-punk, while When the World Comes Down emphasized more simple pop melodies and Kids in the Street had an emphasis on 80's-throwback power pop. | |
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More like five if you take into account their experimental albums like Ummagumma and Atom Heart Mother. | |
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New Sound Album | |
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Blues legend Muddy Waters released the psychedelic rock influenced Electric Mud in 1967. Fans were outraged beyond all reason. | |
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Humanz was a bit of both this and Revisiting the Roots, returning to the "loosely-assorted mixtape" vibe of their debut, but jam-packing the collaborative crossovers, with sleeker, modernized production with emphasis on electronic and R&B elements. Thematically, it's not as overtly political as Demon Days, but it was rather "an emotional response to politics" of the world of 2016-17. | |
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Their first two albums were mostly straightforward rock, with a few mellow moments. And then they started to go weird with 1997's OK Computer, an album featuring spacey rock with recurring themes of globalization and alienation. The massive hype and the highly positive reception gave them much popularity and attention, but the amount of touring and inter-band strife forced the band to re-think itself. | |
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The Rolling Stones shifted from their early R&B-based British Invasion sound to a quirkier, Kinks-like pop with Between the Buttons, went to full-blown psychadelia on Their Satanic Majesties Request, then perfected their bluesy rock formula on Beggars Banquet. Not to mention flirting with disco and synth-rock in the 80s. And electronica in a few tracks in the 90s. These days they are more of a heritage rock band and don't tend to experiment that much. And reggae, funk and disco in the 70s. Their attitude seems to be that, if it comes from the black community it's just another form of R&B - which, of course, is the attitude the original reggae, funk and disco musicians had to begin with. |
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Drum and bass (Earthling) | |
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They largely ditched their wind instruments and went increasingy metal on Larks' Tongues in Aspic, Starless and Bible Black and Red. | |
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Vinyl Confessions by Kansas represented a major lyrical shift towards Christian themes with replacement of Steve Walsh (who quit over philosophical differences with guitarist Kerry Livgren, who was mostly responsible for their new, Christian influences) with John Elefante. | |
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His first album The College Dropout relied heavily on soul/funk samples and gospel-like choirs. | |
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Loaded: Pop | |
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Odelay - Beck combining hip-hop-esque production from The Dust Brothers, sampling everything from Bob Dylan to obscure Sex Education films from the 60's, mixed with pretty much every other genre known to man, creating the Genre Mashup classic we know and love. | |
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TNT evolved from straightforward metal on their self titled album and Knights of The New Thunder, to somewhat of a fusion of Hair Metal and Hard Rock on Tell No Tales and Intuition, with some touches of more traditional metal. Then in 1992 we got Realized Fantasies, which completely shifted to melodic glam metal. In 97, we got Firefly, which somewhat cashed in on the grunge/alternative metal trend that was occuring at the time. Then in 2004 the classic lineup was brought back and the return to melodic rock was made with My Religion. In 2007, new singer Tony Mills was brought in and the new album The New Territory was released, coming in with a sound similar to that of 70s bands fused with the classic TNT sound. Cue Broken Base. | |
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Bongo Fury, Zappa in New York and Sheik Yerbouti: Rock albums mostly recorded live, with epic songs and instrumentals. Zappa's guitar solos start to get longer and longer. | |
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90125 by Yes. The first album by a reunited band with a new guitarist (Trevor Rabin), 90125 saw the band reduce their song lengths and simplify their structures, while retaining enough weirdness and instrumental proficiency to remind fans that it was still a Yes album despite its newfound accessibility. It resulted in the band's only #1 hit, "Owner of a Lonely Heart". Some parts of the fanbase went straight for Old Guard Versus New Blood, with the "Troopers" representing the former and the "Generators" (named after the band's followup Big Generator) the latter, but the majority seem to enjoy both periods just fine. This was actually intended as a spin-off project (named "Cinema"), until Yes vocalist Jon Anderson liked the sound of the demos and decided to join. Drama from the same band is worth mentioning here, as it brought a new wave influence to Yes (courtesy of The Buggles' Trevor Horn, who helped define that musical style throughout the '80s) years before 90125. Some critics, like Jeremy Parish of Game Spite, argue that it did a better job of bringing the band into the new decade than the two subsequent albums. Not satisfied with taking Yes in one new direction, Horn and his bandmates also wrote Machine Messiah, the heavy metal-flavored lead track that would become an influence for the harder sound of neo-prog artists like Dream Theater. |
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Soulwax has shifted over time from alt-rock in the 90s to "Dance-Punk". Their album Any Minute Now marked the start of the change, as it was an electronic-influenced rock album, and the remix/re-creation of Any Minute Now in the album Nite Versions sealed the deal (rock-influenced electronica album!). This has been largely seen as a good thing, as well as somewhat of a natural progression, as Soulwax's alter egos, 2 Many Dj's, have been electronica-ing it up for a while now. | |
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Sixx:A.M.: They originally started out playing Hard Rock/Heavy Metal. Then they released their third album, Modern Vintage, which had a more old-school feel to it. Then they released the Double Album Prayers For The Damned, Vol.1 and Prayers For The Blessed, Vol.2, which went back to the heavier sound, but still incorporates some of the more old-school elements ("Riot In My Head", for instance, has a section that sounds like it was taken straight from Queen. | |
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The Gathering was a return to thrash, and was by far the most aggressive album up to that point (largely due to Dave Lombardo's relentless drum attack on it), with tempos not seen since the first two albums and keeping many of the DM overtones from Demonic. The song "Legions of the Dead" sticks out as likely Testament's single heaviest song. | |
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Where it is evident is usually when a major change occurs in the band. Animals sounds different from Wish You Were Here (1975) because Roger Waters took control of the band at that point, and A Momentary Lapse of Reason sounds different from The Final Cut because Roger Waters left the band and David Gilmour took charge. | |
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Sparks did this several times. While their first four albums were quirky glam rock, 1975's "Indiscreet" saw them exploring a wide variety of styles. Then, with "Big Beat" they turned into a hard rock band, and 1977's "Introducing Sparks" was a Beach Boys/Surf Rock pastiche. All of these are at least still mostly identifiable as rock music, but in 1979, they teamed up with electronic music pioneer Giorgio Moroder to produce "No. 1 in Heaven," a purely electronic disco-style album. They did another in this vein, 1980's "Terminal Jive", then went in a Synthpop direction for the rest of the 80s. With 1995's "Gratuitous Sax & Senseless Violins" they went Eurodisco. Finally,2002's "Lil' Beethoven" turned Sparks into Orchestral Rock. | |
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The Who changed sound very frequently. Their debut album My Generation is blues-rock, similar to to what The Rolling Stones were doing at the time. They then moved into psychedelic pop with A Quick One and The Who Sell Out, and then then keyboard-heavy art rock with Tommy, Who's Next and Quadrophenia. In contrast, The Who by Numbers is stripped down and back-to-basics. The last three albums of their initial run (Who Are You, Face Dances, It's Hard) have a more AOR arena rock sound. | |
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There were still a few New Sound Albums even in their pop era. Tusk, the followup to Rumours, is experimental, with new wave and punk rock influences (but still with enough radio-friendly pop to ensure it a hit), and Tango in the Night is chock full of synthesizers. | |
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Elvis Costello did this throughout his career, beginning with his second album This Year's Model, which had a harder, louder and more new-wave edge than his first album, My Aim Is True. Since then he has explored country, chamber pop, torch songs, shiny contemporary pop, even opera. He is known to release albums of wildly differing styles back to back and even in the same year. | |
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The low points for each band were St. Anger (Metallica, in 2003) and Risk (Megadeth, in 1999). The former stripped down for a rough, unpolished sound while the other tried to be more commercial after the success of the previous album's efforts. Their later efforts were mostly a U-turn: Metallica's Death Magnetic kept the longer songs of St. Anger with a turn back to their late-80s sound, and the three Megadeth albums after the band's reformation (The System Has Failed, United Abominations, and Endgame) steadily shifted more towards the seminal Rust In Peace. Incidentally, the Megadeth albums tend to be overall better received than Death Magnetic is (blame the Metallica fans), though the latter's still pretty good. | |
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Pop rock (Let's Dance) | |
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Butthole Surfers were initially known for psychedelic noise rock, but slowly started sliding towards more conventional alternative rock as time went on. The real big change in sound came with Lost Episode album After The Astronaut (and The Weird Revolution, which had revamped versions of many of the same songs) - their sound became much more electronic and danceable, although Word Salad Lyrics and some sophomoric humor remained. The change wasn't entirely out of the blue though - their contribution to the Spawn soundtrack had them working with Moby, while "Whatever (I Had A Dream)" from William Shakespeare's Romeo + Juliet had a heavy trip-hop influence. Their Black Sheep Hit "Pepper", often compared (or just plain misattributed) to Beck, could be considered a precursor too. And finally, much earlier than any of this, there was The Jackofficers, an obscure and short-lived experimental electronic side project of members Gibby Haynes and Jeff Pinkus, who put out one album in 1990. | |
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Electric folk rock with Bringing It All Back Home | |
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Yeezus is probably his Darkest album yet. Lyrically, it contiunes on the Glam Rap path set by Cruel Summer and Watch the Throne while throwing in the occasional political tune. Musically, its a smorgasbord of genres, combining Trap and Dance Hall with elements of Acid House, Dark Ambient, Punk Rock, Industrial Hip Hop, Dubstep, and Glitch. All of this in 40 minutes. | |
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The Doobie Brothers — During the Tom Johnston era, the band was known for hard-rocking and bluesy songs. After Michael McDonald became lead singer, the band became much more concentrated on falsetto and harmony-heavy pop songs. By Minute by Minute, they were completely rid of their old sound. They got their old sound back, however, when the band reunited with Johnston on lead vocals. | |
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Freak Out: Psychedelic rock, love song parodies, political protest songs and complete madness. | |
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Fear Factory started off with a death metal sound on Soul of a New Machine. It wasn't until Demanufacture when they found their signature sound. | |
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The Cardigans went considerably Darker and Edgier for their fourth album Gran Turismo, which had more of a focus on electronics. Then their next album Long Gone Before Daylight switched again, to a style influenced by alt-country. | |
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Blues rock (Time Out of Mind) | |
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John Cale reinvented himself several times, perhaps the first noticeable break with tradition being 1979's Sabotage/Live, his response to punk and foreign policy. Then he released an awful 80's pop album, Caribbean Sunset. He then released an album of classical interpretations of his previous catalogue, Fragments of a Rainy Season. More recently he's into hard rock (Circus Live). | |
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Suicide Silence codified Deathcore since their inception and became the leading face of it in the genre. However, their fourth album You Can't Stop Me incorporated Nu Metal elements, though they were still prominently rooted in deathcore. It wasn't until their eponymous fifth studio album that they abandoned deathcore entirely for a 1990s-style nu metal sound. It wasn't well-received by the fans, to say the least. | |
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Jazz fusion and modern electronic music (★) | |
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Return to traditional acoustic folk (Good as I Been to You, World Gone Wrong) | |
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Plastic Beach went into an even more eclectic direction, featuring more elements of psychedelic electronica and live orchestra, as well as an even wider array of featured artists, firmly cementing collaboration as part of the band's DNA. It's also the band's most conceptual album to date, stringing together a narrative surrounding the titular trash island and themes of environmental degradation. | |
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Over-Nite Sensation, Apostrophe ('), Roxy & Elsewhere, One Size Fits All: The music here combines hard rock with epic and increasingly complicated jazzy jams and a full band with professional musicians. The lyrics are more surreal and/or focus on bawdy topics without much politics. | |
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Sonata Arctica started introducing some progressive elements to their fully Power Metal music in 2004, with Reckoning Night, but it was quite subtle and no fans cried out loud... until 2007, when their album Unia brought complex, slower and heavily progressive songs. About half their fanbase liked it, while the rest hated it. Their 2009 album, The Days Of Grays, toned down this complexity and progressiveness, but their sound has definitely changed, likely a result of the band Growing the Beard. | |
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Stone Sour's debut Self-Titled Album album was heavily Nu Metal-influenced and didn't sound all that different from Corey Taylor's other band, Slipknot. It wasn't until Come What(ever) May did they find their place as a more melodic Alternative Metal/Hard Rock band that directly contrasts Slipknot's more chaotic sound. | |
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When The Cult started out, they were playing trippy psychedelic post-punk. With their third album, Electric, they suddenly started playing AC/DC-esque hard rock. | |
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Inna's self-titled fourth album is softer and more downtempo than her first three. | |
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New Sound Album | |
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Swedish band Kent is usually known for alternative/pop rock, but changed their style to electro rock for Tillbaka till samtiden and Röd. After that they went back to their original style. | |
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...Eventually creating Kid A. The album featured more electronic sounds than guitars (as Thom Yorke was allegedly bored of guitars by that point), distorted vocals and much more abstract lyrics and experimental instrumentation, splintering their massive fanbase (many of whom had expected a straight-up continuation of OK Computer) and becoming a highly polarizing album. 2001 saw the release of Amnesiac, which was recorded alongside Kid A and was just as confusing as its predecessor, but both albums would receive much praise. | |
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Korn has had a few of these, generally followed by a return to form on their next album. As the band seeks to either improve itself artistically or Win Back the Crowd, its sound has become more complex, less complex, and even dipped into other genres. The most noticeable of these changes was The Path of Totality, an album that took a break from metal for Dubstep. | |
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MGMT Their sophomore album Congratulations dropped the electropop from their first album in favor of 60's and 70's-influenced Psychedelia. Their third, self-titled album MGMT, beyond the first two singles, "Alien Days" and "Your Life is a Lie", is more electronic, darker and droning. |
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Nero's first album Welcome Reality was heavily rooted in Dubstep and Drum and Bass, with elements of breakbeat, electro-pop, and electronic rock. Their second album Between II Worlds largely abandons those two genres, and has a more future house/big beat feel to it. | |
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British reggae band UB40 started off with a reverb-y, dub-influenced sound and very political lyrics. Their fourth LP, the Cover Album Labour of Love, introduced a significant pop element which gradually grew until, on Promises and Lies, they were pretty much an adult contemporary pop band with some reggae for flavor. Since that point, their mix of pop and reggae has varied from album to album. | |
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Robert Miles changed sounds for each of his albums, from his signature dream trance on Dreamland, to ambient breaks on 23 AM, to ethno-trip hop on Organik. | |
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Kero Kero Bonito is very broadly an Indie Pop band that plays around with lofi, chiptune and MIDI-esque electronica, but each project they've released has sounded vastly different than the last. Bonito Generation greatly built off the video game and J-pop sounds of their debut mixtape Intro Bonito, featuring more elaborate, cleaner production and more developed singing than the simple rapping. Tonally, Intro Bonito often rallied back and forth between its anxious cynicism and upbeat idealism, but Bonito Generation fully commits to the side of playful positivity. Their TOTEP EP and Time 'n' Place album phase out almost all of their J-pop elements (including Sarah Bonito's bilingual lyrics) and shifts to a grittier Garage Rock and Noise Pop sound inspired by their London roots, with greater focus on live instruments and softer, wistful singing. The tone is also much more melancholy, exploring more existential themes about the darkness of growing up. Civilisation I and II phase back out the rock elements and hearkened back to their MIDI sound, but entered in a vastly more sophisticated compositional direction, resembling art pop and house music. Thematically, these EPs center around the uncertain path of human history and feature much more prosaic, wistful lyrics about the past, present, and future of life on Earth. |
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The Foo Fighters, after their Post-Grunge-heavy first two albums (Self-Titled Album and The Colour and The Shape), have decided to explore different styles - including an all-acoustic disc for their Distinct Double Album In Your Honour, as well as disco on one side of Hail Satin.note The last album was released under the name "Dee Gees"; the disco side was covers of songs by the Bee Gees and their brother Andy Gibb. The Colour And The Shape is also their only album with a notable Emo influence, which was caused by the band's bassist and then drummer (who had both been in the genre's Trope Codifier Sunny Day Real Estate) contributing to the songwriting process. "My Hero" is the primary example of this, though so are the verses of "Hey Johnny Park". Awkwardly, it remains the band's most popular album despite the fact they rock much harder these days. |
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Wendy Carlos: Switched-On Bach was considered to be a controversial and unprecedented album for it played Classical Music, namely Johann Sebastian Bach, on a Moog synthesizer. Despite all criticism from purists it still managed to become a bestseller with many sequels. | |
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The Cure started off as a pop-punk group and completely changed their sound with the melancholic tones of Seventeen Seconds and Faith, which got them lumped with the gothic rock scene, culminating in their dark tower of angst, Pornography. After Pornography, the band balanced melancholic and upbeat on their next few albums, until their masterpiece Disintegration which was a tad darker than the previous couple albums before it. After Disintegration, they increased the pop quotient with Wish, and since then their style is pretty much a mix between bleak goth and upbeat pop, with varying degrees of happiness. The Top was a MAJOR turn away from their previous effort, Pornography. |
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Few bands have been as successful with continually updating their sound as Bring Me the Horizon has. Starting out as a rather generic and derivative Deathcore band on Count Your Blessings; they had all the typical trappings of the genre such as breakdowns, pig squealed and high pitched screams. They than made a huge leap forward with Suicide Season: switching towards straight Metalcore with much improved and more emotional screaming, better use of breakdowns and occasional use of ambient music. They got much more ambitious on their next album There is a Hell..., which featured more elements of Post-Rock, Baroque Pop style orchestras, glitched out vocals, and electronic beats. Finally they surprised everyone with the now critically acclaimed Sempiternal which fully integrates their metalcore and electronic sides with more mature song writing to create a unique sound. Then they pulled a complete one-eighty with That's the Spirit, which saw them ditching metalcore entirely in favor of lighter, poppier, electronic-tinged Nu Metal. They may be closer to rock than metal now, but it's given them their biggest success. | |
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Dierks Bentley recorded a bluegrass album, Up on the Ridge, in 2010. It was a radical departure from his mainstream country music sound. Although the album netted him the most critical acclaim of his career, its singles completely failed to take off at radio. The album is also notable for being his first with Jon Randall as producer instead of Brett Beavers; Randall also produced the next album, Home, which is more in line with Dierks' usual style. It happened again in 2014 with Riser, which has a more rock-influenced production from Ross Copperman. | |
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Black Veil Brides switched from Metalcore to modern day Hair Metal on their second album, and have stuck with this ever since. | |
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Neoclasical art rock ('hours...') | |
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In the Court of the Crimson King and In the Wake of Poseidon are doomy progressive rock with lots of mellotrons and a good bit of jazz thrown in. | |
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Disco-rock (Station to Station) | |
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aespa's third mini-album My World moved away from the hard-edged sounds of their previous work. This was inevitable without Yoo Young-Jin, the songwriter and producer who helmed their previous work, as he had left SM Entertainment prior to the album's completion. | |
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Japanese stoner metal band Boris seem to shift their style quite frequently. The first album was the hour long drone and noise albums Absolutego and Amplifier Worship then followed with a more post-rock sounding drone album Flood. The following albums Akuma No Uta and Heavy Rocks seem to follow a more stoner metal approach which has become part of their staple sound. They have also released more noise based albums with Merzbow, a J-pop/J-rock album New Album and have experimented with other styles throughout their extensive discography. Taken further with the release of their album Vein which was released in two identical versions that are nearly impossible to tell the difference of. One version of the album is a noise album, and the other version is hardcore punk. |
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Infamous grindcore band Anal Cunt, who made it their mission to offend everyone with over-the-top aggressive lyrics condoning racism, homophobia, sexism, violence, etc., put out Picnic of Love, the most deliberately inoffensive album ever. In place of songs like "Women: Nature's Punching Bag," we're treated to songs such as "I Respect Your Feelings as a Woman and a Human." Aside from the lyrics, the music, itself, is also considerably Lighter and Softer, featuring acoustic guitars and Seth Putnam's signature squealing and screaming is replaced with an almost Elmo-esque falsetto. Meanwhile, Fuckin' A was meant to be their take on "cock rock" — the songs were longer than usual, and were in the style of retro Hard Rock rather than grindcore (fittingly, the cover art is a parody of Mötley Crüe's Too Fast For Love). Seth Putnam's usual vocal style and shock value lyrics remained, albeit with more emphasis on typical hard rock subject matter like sex, drugs / alcohol, and rock and roll - song titles included "Whiskey, Coke and Sluts" and "Crankin' My Band's Demo on a Box On The Beach". |
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Julien-K started off as Industrial Metal with electronic and dance elements. For their sophomore album they moved to a much more poppy, dancey, 80s-influenced sound. Bassist Brandon Belsky wasn't thrilled with the direction they were taking, and left the band. | |
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Recovery showed Eminem ditching Dr. Dre as his primary producer, instead working with multiple different beatmakers and a adopting a chart-friendly Pop Rap sound. | |
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From Guero onward, he's no longer been radically changing his sound on each release: but maybe it only seems that way, because (by now) he's already explored every possible genre, and even then most albums since then have innovated his sound in some way. | |
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White Light/White Heat: Loud garage rock | |
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Zoot Allures: A darker, sleazier rock sound, where instrumental work and songs are in balance. | |
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Black Sabbath's first six albums were based on huge heavy riffs with bits of sophistication sprinkled on top. Their sixth album Sabotage features the heaviest Black Sabbath song, "Symptom of the Universe", which is often considered to be the first thrash song. Their seventh album, Technical Ecstasy? A great deal of the heaviness was gone, as well as the general apocolyptica that was dominent in Sabbath's earlier work and set them apart. Heaven and Hell, their first album with Ronnie James Dio, certainly counts. It returned to the heavy metal sound from before Ecstasy but largely downplayed the psychedelic and Doom Metal influences from the Ozzy years in favor of more traditional metal, Power Metal and even Speed Metal influences (doomy songs were however still written, just a lot less). |
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Gospel rock (Slow Train Coming and Saved) | |
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Industrial rock/electronica (1. Outside) | |
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Every Green Carnation album has been one of these: Their demo material was pure Death Metal. Journey to the End of the Night was folk-influenced Doom Metal. Light of Day, Day of Darkness was pure Progressive Metal, featuring one single sixty-minute song. A Blessing in Disguise contained shorter and more melodic songs, some gothic tinges, and was more hard rock oriented. The Quiet Offspring had a more traditional hard rock sound, leaving behind the atmospheric and progressive stylings of their previous two albums. The Acoustic Verses is a completely acoustic album. |
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The German band Oomph!, thanks to frequent experimentations and Genre Shift during their career, have several of them: Sperm moved partially away from the previous EBM album Oomph!, taking the first steps into Industrial Metal with Groove Metal influences, in fact codifying the "Neue Deutsche Härte" (or NDH); Plastik represented a turning point in the band's sound, which got significantly softened, featuring less aggressive instruments and vocals and more prominent synthesizer riffs; Wahrheit oder Pflich introduced substantial Gothic Metal elements; Des Wahnnsinns fette Beute abandoned the previous gothic influences but also distanced itself from the more traditional NDH, experimenting a lot by blending together different and contrasting genres and sounds, sometimes within the same song. |
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Petra, the original Christian Rock band, did this nearly every album, essentially following the current trends in rock music (or trying to, at least) from start to finish. The standouts, however, are the various times they tried to tone down the "rock" part in order to get airplay on Christian radio. Only to snap right back by the next album. Usually. | |
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Poppy has (somewhat ironically) steadily become less Pop-influenced the longer she's went on. Her earliest work, including her debut Bubblebath EP and Poppy.Computer albums were mostly straightforward, bubblegum Synth-Pop, but Am I A Girl? took a darker and more theatrical sound based in electropop and — most surprisingly — Heavy Metal and Nu Metal, done to deliberately jarring effect. Her following project, I Disagree, is overtly a metal album with only a few smidgens of her previous bubblegum sound. | |
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Aerosmith's Permanent Vacation saw the band employing outside songwriters for the first time and switching to the slicker, poppier, MTV-ready sound that would distinguish their later-period work, all while keeping their blues-based Hard Rock roots intact. Indeed, for about 25 years, they just kept exploring the same hard rock/blues rock material they started with, refining and adding elements of pop rock, funk, hip hop, whatever they could, with varying degrees of success. That was all progression. Just Push Play on the other hand definitely seems to count. |
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Sloan's debut album Smeared had a grunge like style to it but their follow up Twice Removed saw them leaving it for a more melodic sound. | |
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Every one of Falling Up's five records sounded generally different from the rest, as they moved more and more in the direction of experimental rock. They took it to a new level with Fangs! though, which saw a complete restructuring of their sound and how the band performed and recorded. Unfortunately it was also their last album. | |
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Iron Maiden incorporated guitar synths on Somewhere In Time, and full-fledged synthesizers on the Concept Album Seventh Son of a Seventh Son. Though the biggest change was when Blaze Bayley joined the band, showing a darker and more Progressive Rock-influenced sound which attracted many detractors. | |
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Billy Currington usually recorded laid-back, twangy neo-traditionalist Country Music. But starting with We Are Tonight in 2013 and continuing through Summer Forever two years later, he has opted for a more upbeat, electric-guitar driven production style. Songs like "Hey Girl", "We Are Tonight", and "Don't It" in particular are more polished and punchy. | |
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Kamelot started as a standard power metal band with a god-awful Geoff Tate wanna be of a vocalist, but upon said vocalist quitting and the subsequent addition of Norwegian opera-style vocalist Roy Khan, plus the switch to a more progressive metal influenced style has made their album The Fourth Legacy both a New Sound Album as well as the start of their beard growth. | |
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Genesis, which began as a vaguely psychedelic pop band with From Genesis To Revelation in 1969, changed to Progressive Rock a year later with Trespass (Genesis Album). They stayed this way even after Peter Gabriel's departure (and replacement by drummer Phil Collins) in 1975. After the departure of longtime guitarist Steve Hackett and their reduction to a trio in 1978, they gradually began including shorter and more commercial-sounding songs (starting with "Follow You, Follow Me") into their repertoire by the late 1970's. The Abacab album of 1981 found the group almost entirely abandoning their prog roots for a more streamlined, high-tech prog-pop sound, winning success on MTV and the Top 40. Though they gained a new audience, much of the older fanbase was alienated from the new style. | |
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The overall musical output of Einstürzende Neubauten explores a diverse selection of textures and styles. Zeichnungen des Patienten O. T. introduced a wider range of moods, melodies, and sounds than the generally intense abrasiveness of Kollaps, a direction taken further into detail on Halber Mensch, which was succeeded by the dark ambient of Fünf Auf der Nach Oben Offenen Richterskala. Haus der Lüge includes elements of electronic and rock music but is less diverse than Tabula Rasa, that in turn is louder and more unconventional than Ende Neu. Silence is Sexy disposes most of the noise aspects found in previous albums in favor of restraint, resulting in softer songs. Perpetuum Mobile continues the relaxed and mature nature of Silence is Sexy while bringing back some of the Sensory Abuse heard in the band's 1980s works. Alles Weider Offen remained smooth despite being a slightly bleaker album. The World War I-centered concept album Lament is based off archived recordings and writings and accompanied by a string quartet. | |
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Counterparts had the band ditched their poppier synth-laden sound in favor of a grunge-influenced sound sound that was met with commercial and critical success at the peak of grunge's popularity. They heavier sound has been part of the band ever since, with Clockwork Angels moved the band back to a '70s sounding heavy-prog. | |
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Sepultura's album Chaos AD showed the metal band experimenting with different genres. Their album Roots had them incorporate traditional Brazilian music in their sound. | |
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The Eminem Show has Eminem gaining more control over the production, with an attendant change of sound to a cinematic feel with elements of 70s rock. | |
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Solar Fields was initially experimental ambient electronica, but shifted to trance for his Earthshine album, then returned to his former style for Movements and the Mirror's Edge soundtrack, then went back to trance on Random Friday. | |
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Studio Tan, Sleep Dirt and Orchestral Favorites: Mostly instrumental albums with a Genre Roulette sound that almost sounds like the soundtrack to a Looney Tunes cartoon at times, exemplified by the musical sketch "The Adventures of Greggery Peccary". | |
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The Colour And The Shape is also their only album with a notable Emo influence, which was caused by the band's bassist and then drummer (who had both been in the genre's Trope Codifier Sunny Day Real Estate) contributing to the songwriting process. "My Hero" is the primary example of this, though so are the verses of "Hey Johnny Park". Awkwardly, it remains the band's most popular album despite the fact they rock much harder these days. | |
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HIM's Screamworks diverges from their long-standing sound of dark goth with...something more pop and upbeat. The lyrics are still quite dark, although they too have taken quite a change. Venus Doom, their previous album began off as incredibly metal, so it too was a bit of a new sound album—the transition can be...difficult. Basically, going from the incredibly messed up song "Gone With the Sin" (Razorblade Romance) from all the way back in 1999 to "Scared to Death" (Screamworks: Love in Theory and Practice) may leave people wondering just who the hell they're listening to. |
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...Which was followed up with A Moon Shaped Pool in 2016, sounding very similar to How To Disappear Completely from Kid A | |
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Lee Ann Womack emerged in the late 1990s as a "neotraditional" country singer with a hardcore honky-tonk sound. But 2000's I Hope You Dance had very slick, lush, and bombastic country-pop production, as exemplified in the title track (which became her biggest hit despite being a total antithesis to her usual style). She returned to the more traditional sound with There's More Where That Came From five years later. | |
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Absolutely Free: More epic in scale, with direct musical quotations of Igor Stravinsky and Gustav Holst and a majority of political protest songs and hidden messages. | |
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Porter Robinson’s music can be very distinctly split between his work before the release of his debut record Worlds and after. The sound that made him famous was Electro House (with his particular style being responsible for the creation of complextro as a subgenre within the scene), with his debut Spitfire EP being an early glimmer of success for him. Worlds moved toward a more indietronica-inspired sound palette, and tunes like the ambient-inspired “Sea of Voices� and Vocaloid pop track “Sad Machine� alienated someone fans while drawing in others. Porter would go on to rather infamously disowned most of his music from his early career, save for some of the songs that foreshadowed his genre change like “Language,� the more artful tracks on Worlds and "Shelter", a collaboration with his good friend Madeon. His work since Worlds has largely stayed true to the sound established on that record, with the primary exception being his work on the speedcore project Virtual Self. | |
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Caravan Palace is known primarily as an Electro Swing group, but they've managed to get a lot of diverse sonic mileage out of it with each of their albums. Their debut Self-Titled Album remains in probably having the purest depiction of swing, emphasizing live acoustic jazz and Big Band instrumentals alongside the French House and techno elements that would define them. Panic has a much Lighter and Softer bend, still featuring plenty of pop and jazz elements, but with a production style that skewed from the danceable, rustic grit of its predecessor to something focusing more on subtle, laid-back grooves, featuring some of their most gentle and serene songs to date. <|°_°|> (also known as Robot Face) featured a much darker dive into more cinematic genres, experimenting more with moodier melodies, soundscapes, and with twinges inspired by House Music, Drum and Bass, and even Hip-Hop. Chronologic marks the band's closest it's gotten to traditional pop, featuring more emphasis on vocal features and songwriting akin to mainstream Electronic Dance Music, but still informed by their mix of vintage Big Band sounds with modern electronic production. |
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Uncle Meat: A collage album with more emphasis on instrumental music, though occasional recordings of Zappa with band members and song with totally surreal lyrics are also heard. It's less heavy on the satirical stuff. | |
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mind.in.a.box is mainly darkwave/futurepop, but R.E.T.R.O took an unexpected detour to chiptunes and Commodore 64 remixes. It also deviates from their signature cohesive narrative of Sequel Songs, possessing minimal lyrics and no plotline. | |
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The Velvet Underground & Nico: Eclectic art rock | |
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Country (Nashville Skyline) | |
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Though Carl and the Passions – "So Tough" and Holland would fit this trope. It's justified though, as Bruce Johnston left as they started making the former album, and Blondie Chaplin and Ricky Fataar joined the band. | |
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Cat Stevens could easily have pulled this off on every other album. To wit: Matthew and Son and New Masters are basically Baroque Pop, popular at the time. Mona Bone Jakon and Tea for the Tillerman are complete and definite folk-rock. Teaser and the Firecat has a little more pop. Catch Bull at Four is basically a mixed bag with the use of electric guitars (on "Sitting" and "Freezing Steel") and organ (on "Can't Keep It In") becoming quite dominant — not that his acoustic moments were gone. Foreigner has a lot of keyboards and sounds like classic rock. Cue They Changed It, Now It Sucks!. Buddha and the Chocolate Box is a combination of the folk- and pop-rock (respectively of Tea for the Tillerman and Catch Bull at Four) with the keyboards of Foreigner and some spiritual lyrics. Cue Win Back the Crowd. Numbers, Izitso and Back to Earth are Synth-Pop. Several albums he recorded as Yusuf Islam (labelled as "Spiritual Albums" on Wikipedia but still actual studio albums in all but name and format) are basically spiritual messages on Islam. An Other Cup and Roadsinger are folk-rock all over again. Cue his Career Resurrection. Tell 'Em I'm Gone is folk-rock with some blues-rock in the mix. |
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Speculative: Paul Simon, with Graceland. Wildly popular, but notable in history because of how much of a stylistic shift it was. | |
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King Gizzard and the Lizard Wizard take this trope to new heights, as each of their albums sound different than their predecessors all while still maintaining their psychedelic roots. Listing every album would be exhausting considering their rapid-fire release schedule, but they dabbled with garage rock, psychedelic pop, Indian folk music, folk rock, progressive rock/metal, boogie rock, and even thrash metal. You'd be forgiven if you initially thought you were listening to different bands. | |
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The albums "All Around the World", "Let it Be Me", and "Sign of Your Love" from Jason Donovan all have a sound that's far different than the sounds of his first three albums. | |
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Joe's Garage: A Rock Opera with a story that is continued from the first until the penultimate track. Introduced a xenochronic sound and the second side of the double album is surprisingly melancholic for a Zappa album. His trademark ultra-long guitar solos start to become more prominent. | |
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Electronica-influenced art rock (Black Tie White Noise) | |
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British post-industrial group Zoviet France does this every album, but most would agree that Shouting at the Ground marked their transition to more strait forward ambient and drone, but that's not to say that any of their music is any less potent. | |
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Imelda May had always showed other influences, but her first few albums established her as something of a rockabilly revivalist, complete with a very distinctive visual style. Life Love Flesh Blood (2017) showcases a wider range of styles; it's a relatively subtle shift by the standards of the trope, but the accompanying change in her look, from skunk stripe to Little Black Dress, made the point clear. As she said, she wanted to stop dressing up as "Imelda May". | |
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