->''"This album shocked fans by not sounding exactly like our previous album ... Which in turn didn't sound like the previous album, which also didn't sound like the album before that... etc..."''
-->--'''Music/TubRing'''

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 [[AndNowForSomethingCompletelyDifferent 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 ExecutiveMeddling. Regardless, the result will be a change of style. This can be either a total GenreShift, general simplification for bands with highly complex styles (thrash metal, prog rock, etc.), more prog tendencies for simple pop-rock 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 TheyChangedItNowItSucks from parts of the fanbase, along with a whole spectrum of opinions from others.

The NewSoundAlbum 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 GenreShift. Reactions to this tend to vary. There's always a segment of the fanbase that says TheyChangedItNowItSucks and labels them as [[MoneyDearBoy 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 [[BrokenBase divide a fanbase]] into OldGuardVersusNewBlood, 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 GrowingTheBeard.

Contrast SomethingCompletelyDifferent, where the change is usually temporary, and the artist goes back to their old sound with the next album.

----
!!Examples
[[foldercontrol]]

[[folder:Bands and Artists 0-G]]
* You may remember the group 4hero for the breakbeat techno song "Mr Kirk's Nightmare" back in the early 90's. Well, in 2007, following a six-year hiatus, they made a complete GenreShift to downtempo and nu-jazz with the appropriately named ''Play with the Changes''.
* "A" went for a similar trend-chasing shift from unique melodic punkiness to full on Offspring / GreenDay style pop-punk... and subverted it by actually being quite good, recognisably the same BeachBoys -inspired band that made ''How Ace Are Buildings'' and ''A Vs Monkey Kong'', and scoring some commercial success. Then subverting it even harder by sticking with a slight refinement of the same theme for ''Teen Dance Ordinance'', somehow getting nowhere with anyone, and splitting out of frustration.
* Music/{{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 HardRock 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.
* Music/{{AFI}} started off as a derivative hardcore punk band (a la BlackFlag) but switched to a blend of post-hardcore, Music/{{Emo}}, hardcore punk and alternative rock (exemplified with 1999's 'Black Sails In The Sunset'), they then perfected that new sound with 'Sing The Sorrow' (one of the key albums of early 2000's post-hardcore) and 'Decemberunderground' and have now gone to straightforward {{Punk}} with 'Crash Love' and back to The Sisters of Mercy-style operatic rock with 'Burials'.
* Music/TheAllAmericanRejects started as a pop-punk band similar to blink-182. With "When the World Comes Down", they had more emphasis on the pop, and Kids in the Street had more emphasis on the punk.
* DanielAmos started off in 1975 with a self-titled country album. They considered themselves a rock band, with the country just being a temporary phase, so their followup ''Shotgun Angel'' mixed it with an ambitious rock opera. It was their third album, ''Horrendous Disc'', that signalled their complete abandonment of country, and let fans know to expect more surprises in the future.
* Music/ToriAmos - Her three albums ''The Beekeeper'', ''American Doll Posse'', and ''Abnormally Attracted to Sin'' depart from her signature piano-based sound. ''The Beekeeper'' is a mixture of baroque pop and blue-eyed soul, ''American Doll Posse'' is alternative rock, and ''Abnormally Attracted to Sin'' is a mixture of electronica, baroque pop, and alternative rock. May fans dislike those albums (especially ''The Beekeeper''). Also, her last three albums from the '90s count too. ''Boys for Pele'' is very minimalistic; the majority of songs on the album lack a bassline and a drum beat. ''From the Choirgirl Hotel'' is a mixture of electronica and alternative rock. ''To Venus and Back'' is even more electronic. These albums however, are ''way'' more popular with fans.
* Infamous grindcore band Music/AnalCunt, 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 LighterAndSofter, featuring acoustic guitars and Seth Putnam's signature squealing and screaming is replaced with an almost [[Series/SesameStreet Elmo-esque]] falsetto.
* Every single album AnimalCollective ever released did that.
* Apoptygma Berzerk were originally straight-up Industrial EBM, but went into the LighterAndSofter Futurepop subgenre starting with ''Welcome to Earth'', and with their latest two albums, ''You and Me Against the World'' and ''Rocket Science'', they [[GenreShift completely jumped ship]] to indie-style synth rock.
* Music/{{Aqua}}'s third album, ''Megalomania'', was a major shift from their usual light-hearted Eurodance into a more "grown-up" electropop sound. It was not well-received: as a critic put it, "they now sound like every other generic dance-pop outfit out there", and some old fans mockingly call the band "Black Eyed Peas 2.0".
* TheAquabats, on their 1999 album ''The Aquabats vs. the Floating Eye of Death'', radically changed direction from the ska style of their first two albums (released in 1996 and 1997), featuring no ska and a reduced use of brass instruments in favor of guitar and keyboard-driven New Wave-influenced rock and punk. The band continues to maintain this style, and in 2005, they released ''Charge!!'', the first album which not only introduced a smaller five-member line-up but didn't feature any of the horns they once used in the '90s.
* ArcticMonkeys' ''Humbug'', a PinkFloyd-influenced psychedelic album, quite different from the frantic garage-rock of their previous material.
** Their 2011 album ''Suck It And See'' is also much softer change from their earlier sound.
** Their latest album ''AM'' is sort of a cross between Humbug and Suck It and See, with some R&B influences.
* DeathMetal band Music/{{Autopsy}} did this constantly. The debut ''Severed Survival'' was [[ThrashMetal fast and thrashy]], while ''Mental Funeral'' was much more [[DoomMetal slow and doomy]]. Third album ''Acts of the Unspeakable'' moved more in the direction of {{Grindcore}} and Shitfun was basically HardcorePunk.
* Music/AvengedSevenfold 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 ThrashMetal with the melodic ferocity, breakdowns, and PopPunk[=/=]{{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 OutOfGenreExperience such as the Danny Elfman style "A Little Piece of Heaven" 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". Finally, there's "Hail to the King" - which has been described by lead singer M Shadows as "more BluesRock-influenced and more like classic rock and classic metal in the vein of Music/BlackSabbath and Music/LedZeppelin".
* Backseat Goodbye and ''The Good Years''. It diverges from his previous sound of pop-folk to a more solid folk-country (with pop elements). Some people [[TheyChangedItNowItSucks thought it sucked,]] some were like [[GrowingtheBeard "cool,]] [[BrokenBase whatever."]]
* BadReligion did this in ''Into The Unknown'', then went back again to their old style, progressing into a new sound in a more subtle way. They made another big change in ''The New America'', and their fanbase still argues if it's a great record or if it's a case of TheyChangedItNowItSucks.
** ''Into the Unknown'' has since become the band's OldShame, to the point that it is the only one of their early albums not to be reissued on CD.
* Music/TheBeachBoys evolved pretty gradually away from surf-rock, but fully went baroque pop with what's considered their masterpiece, ''Pet Sounds'' (which sadly didn't have "Good Vibrations" on it). They went back to simplicity later due to intra-band conflict and drug abuse.
* The BeastieBoys have done this a few times. First with ''Paul's Boutique'' they moved away from their more rap-oriented sound into eclectic genre hopping. ''Check Your Head'' and ''Ill Communication'' saw the band return to their roots as a late 70's hardcore punk band, resulting in a more alternative rock sound. ''Hello Nasty'' returned the band to rap, but added influences electronica and club dance music. ''To the 5 Boroughs'' featured a return to a more alternative rap sound. From what little that's been heard of their upcoming ''Hot Sauce Committee'' album, it seems that they're continuing with a more stripped down version of what they were doing on ''To the 5 Boroughs''.
* Music/TheBeatles did it twice. Starting with ''Revolver'' they dove headfirst into trippy, catchy psychedelic rock, and then with ''Music/TheWhiteAlbum'' they went back to straightforward rock.
* Music/{{Beck}}, on '''every single album'''.
** 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.
* {{Behemoth}} started incorporating DeathMetal into their mostly up to that point BlackMetal sound in the album ''Satanica'', and have continued this movement on each subsequent album
* Music/DierksBentley 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.
* Music/{{Beyonce}} did this with "4", moving away (not entirely, but largely) from hip-hop and dance music, going more towards old-style R'n'B and orchestral music.
* When BlackFlag started they were a regular 2-minute HardcorePunk band (all of their early singles/extended plays and the ''Damaged'' album); when they broke up they had 10 minute free style jazz jams (''The Process of Weeding Out'' instrumental EP) and a more heavy metal/hard rock sound (the ''Loose Nut'' and ''In My Head'' albums in particular).
** The bands second LP, ''My War'', released a little more than two years after ''Damaged'', featured three 6 minute songs on the B-side that later influenced the sludge metal genre.
* 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.
* Music/BlackSabbath'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", [[UrExample which is often considered to be the first thrash song.]] Their seventh album, ''Technical Ectasy''? 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.
* BlackVeilBrides switched from {{Metalcore}} to modern day HairMetal on their second album, and have stuck with this ever since.
* Music/{{Blink 182}} did this with their 2003 self-titled album. The band wanted to make a "serious" album after years of pop-punk and lighthearted lyrics about proms and humping dogs. The result of this was an emo/post hardcore-influenced sound.
** Also, when frontman Tom Delonge went on to form Music/AngelsAndAirwaves, which was radically different in nature from Blink.
* Bloc Party's debut album Silent Alarm was well received and known for its heavy use of guitars and was generally considered an example of a good indie album. As the band's career progressed they released A Weekend in the City and Intimacy, two albums with increasingly dancier music and less emphasis on guitars and other standard indie fare.
* Bloodrock started out as a hard rock band, albeit one that frequently employed ProgressiveRock-esque organ playing and EpicRocking. ''Passage'' saw them adopting a full-on prog rock sound without much use of distorted guitar, partially due to vocalist Jim Rutledge and lead guitarist Lee Pickens leaving the group and vocalist / flute player Warren Ham joining. The new sound stuck until their breakup one album later, and the newer lineup of the band had CreatorBacklash towards much of their earlier material, especially morbid SignatureSong "D.O.A.".
* Music/{{Blur}} started as a roughly Madchester-style band with ''Leisure'', before transitioning to Britpop with ''Modern Life Is Rubbish''. Their later career basically consisted of three of these: ''Blur'' took inspiration from American indie rock and lo-fi bands such as {{Pavement}}, ''13'' continued into more experimental territory, and ''Think Tank'' was kind of like ''13'', but with more electronic influences.
* BoardsOfCanada's first two main releases, ''Music Has The Right To Children'' and ''Geogaddi'', which were laden with warm synthesizer sounds, were both greatly adored and critically acclaimed albums. Their third release, ''The Campfire Headphase'' which utilized guitar and a more pastoral sound, was released to a mixed reception. However, their fourth album, ''Tomorrow's Harvest'', went back to their original sound.
* BonJovi had two, maybe justified as the lineup underwent a slight change and lead singer/writer Jon aged and mellowed a little - and they went after the changing tastes of ladies more their own age (HairMetal always being, in the end, all about the ladies)... but, the stylistic shift experienced between the classic but ironically titled ''Keep The Faith'', and newer, poppier, mushier ''Crush'' (with "These Days" as a confused, halfway turning point, and "Crossroads" being a sort of "this is the ''Best Of the OLD Bon Jovi'', now watch as we ''change it all"'') is still a heck of a jolt for male fans who enjoyed the heavier, more traditional rock flavour of their first 15 or so years. Those two start the BrokenBase, with women (stereotypically) liking the new phase and rockers (of both genders) the old one.
** There is also ''Lost Highway'', the band's attempt at a country album, though most people don't hold it in high regard.
* BoneThugsNHarmony (just about every new release?)
* TheBooRadleys did this a lot. Their studio albums went approximately, Shoegazing -> Dub-and-psychedlia-inflected NeoclassicalPunkZydecoRockabilly -> melodic pop -> rock -> melodic pop again, but with a bit of big beat thrown in.
* Japanese stoner metal band Music/{{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.
* Music/DavidBowie '''many''' times. In order of significant ch-ch-ch-ch-changes, his first self-titled album was 1960s British pop with touches of music hall fare, and then he moved on to...
** Psychedelic folk (''Space Oddity'')
** Music/HeavyMetal (''The Man Who Sold the World'')
** GlamRock (''Hunky Dory'')
** Proto-PunkRock (''Ziggy Stardust'')
** Blue-eyed {{Soul}} (''Young Americans'')
** Electronic proto-PostPunk {{Krautrock}} (''Low'')
** GothRock-influenced {{New Wave|Music}} (''Scary Monsters and Super Creeps'')
** Top 40 R&B-influenced material (''Let's Dance'')
** HardRock (The two albums he recorded with Tin Machine)
** Industrial/electronica (''1. Outside'')
** Mainstream alt-rock (''Reality'')
* The band BrandNew changes their entire style each album. "Your Favorite Weapon" was pure pop punk and Music/{{emo}} with quick witted lyrics and power chords. Their follow up "Deja Entendu" was much closer to {{post-hardcore}} emo, and featured literary lyrics, more mature song writting and a much darker sound. They than increased the darkness ten fold on "The Devil and God are Raging inside me" which featured an abrasive mix of emo, post-hardcore, screamo, indie folk, and art rock. "Daisy" continued with this sound with more emphasis on the screamo and art rock aspects.
* Few bands have been as successful with continually updating their sound as BringMeTheHorizon has. Starting out as a rather generic and derivitive {{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}}, BaroquePop 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. They now sound like a completely different and much better band.
* BT has changed sounds several times. His first album ''Ima'' was deep/progressive house, then he changed to drum&bass/trance/ambient/trip-hop for ''ESCM'' and ''Movement in Still Life'', then ''Emotional Technology'' was pop-trance, electro, and rock ballads. ''This Binary Universe'' was a complete GenreShift to experimental ambient and new age material (influenced by CreatorBreakdown due to his equipment being stolen and his daughter's kidnapping), then ''These Hopeful Machines'' ventured back down the ''Emotional Technology'' route, as well as incorporating elements of [=IDM=] and glitch-hop. ''If the Stars Are Eternal So are You and I'' is an ambient follow-up to ''TBU''.
* In a case of New Sound ''Career'', after the squeaky-clean British boy band Busted split, member Charlie Simpson formed the critically acclaimed post-hardcore band Fightstar. And then in 2011, while on hiatus from Fightstar, he released his first solo album...a collection of acoustic folk songs.
* Music/ButtholeSurfers 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 LostEpisode 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 WordSaladLyrics 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 ''Film/WilliamShakespearesRomeoAndJuliet'' had a heavy trip-hop influence. Their BlackSheepHit "Pepper", often compared (or just plain [[MisattributedSong misattributed]]) to {{Music/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 [[OneBookAuthor one album]] in 1990.
* Music/TheByrds moved from jangly psychedelic pop to traditionalist country rock with ''Sweetheart of the Rodeo''.
* 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'').
* MariahCarey is easily this. Her debut album, ''Mariah Carey'' incorporated 80s synths with slight R&B dance vibes. It switched to a 50s/60s/70s Disco/Soul vibe in ''Emotions'', which then suddenly changed into Adult Contemporary mellow-sounding ballads for ''Music Box''. ''Daydream'' started to lean more towards modern, underground music and incorporated, and fused, pop, R&B, hip-hop and AC. ''Butterfly'' later dropped the noticeable Adult Contemporary aspects and went for a heavy R&B/hip-hop sound with slight pop/AC leanings (like 75% R&B/hip-hop, 25% pop). This eventually turned into full R&B/Hip-hop with a bit of pop (90% r&b/hip-hop, 10% pop) during ''Rainbow'', where there was some pop but only because she was really popular at the time. It dropped the AC leanings completely. Then came the infamous ''Glitter'' which utilized a myriad of rappers and incorporated a bunch of 80s pop samples creating some weird 80s influence r&b/hip-hop with modern day rap. Then, during ''Charmbracelet'' she had slight r&b/hip-hop leanings and returned back to her old AC style only for her to return back to full R&B/Hip-Hop for ''The Emancipation of Mimi''. Then, for E=MC2, she adopted... [[FollowTheLeader whatever was popular]] in 2008 and used some reggae/dance hall music and returned to a more familiar pop/r&b/hip-hop/dance sound. Finally, for ''Memoirs of an Imperfect Angel'' she utilized an R&B style with heavily, electronic instrumentation which had some 80s influences. So, in short, we have:
** 80s pop with slight R&B/Dance vibes (''Mariah Carey'')
** 50s/60s/70s Soul/Disco/Pop (''Emotions'')
** Adult Contemporary (''Music Box'')
** AC/Pop with some mixture of R&B/Hip-Hop (''Daydream'')
** Mostly R&B/Hip-Hop with some pop leanings (''Butterfly'')
** Heavily R&B/Hip-Hop with little pop leanings (''Rainbow')
** 80s R&B/Hip-Hop/Dance Pop with modern day rappers/rap styles (''Glitter'')
** AC with some R&B/Hip-Hop leanings (''Charmbracelet'')
** Full R&B/Hip-Hop (''The Emancipation of Mimi'')
** Current trends in Pop/R&B/Hip-Hop/Dance (''E=MC2'')
** R&B/Hip-Hop with 80s Electronic Keyboards/Synths (''Memoirs of an Imperfect Angel'')
* VanessaCarlton, otherwise known as "that girl who sang ''A Thousand Miles''" to most people, moved away from her pop roots to an indie label for ''Rabbits on the Run''. Only the initial track, ''Carousel'', is reminiscent of the past, and even it hints at the more atmospheric sound that would define the rest of the album. The woman who once sang about chasing after boys now sings about not wanting to be a bride and the distinction between love and marriage.
* Cave In started out primarily as a {{metalcore}} band. With the ''Creative Eclipses'' EP and followup album ''Jupiter'', they started embracing more of a SpaceRock sound, and lead vocalist Stephen Brodsky started eschewing HarshVocals entirely due to fear of damaging his voice. Then ''Antenna'', their only major label album, was another shift towards AlternativeMetal, albeit with some hints of space rock remaining. After being dropped from RCA, they started combining elements of all three of the above styles, with bassist Caleb Scofield stepping up to the microphone whenever a song requires HarshVocals: Now they could sort of be described as [[NeoclassicalPunkZydecoRockabilly shoegazing alternative metalcore space rock]].
* 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.
* Chicago is well known for their transition from being an experimental "rock band with horns" in the '70s to a ballad-heavy and synth-heavy band in the '80s, with the transition point being ''Chicago X'', with ThrowItIn ballad "If You Leave Me Now" becoming their first number 1 hit.
* Music/{{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.
* The soundtrack to Creator/CirqueDuSoleil's ''Amaluna'' is very different from that of their previous shows, featuring many heavy metal/hard rock tunes, with touches of electronica/techno elements and their traditional contemporary classical sounds.
* Clan of Xymox began as DarkWave, then after their first couple albums renamed themselves Xymox and switched to a LighterAndSofter AlternativeDance type sound. Upon reforming as Clan of Xymox in 1997, they changed style again to straight GothRock with minimal synthesizers. They later returned to their goth-electronic roots. Their latest (not counting the CoverAlbum ''Kindred Spirits''), ''Darkest Hour'', has a [[DarkerAndEdgier gritty]], {{Industrial}}-influenced sound.
* TheClash changed their sound with ''London Calling'', moving from outright punk to a heavily reggae and blues influenced sound. The seeds of this were seen on the previous album, ''Give 'Em Enough Rope'', most notably on Julie's Been Working From The Drug Squad that displayed heavy New Orleans Jazz influences. At the time it was derided for betraying "punk" but has since go on to be considered one of the best albums of all time. Later albums also experimented with stylistic, however to a lesser degree of success, although there are fans of ''Sandinista!'' and ''Combat Rock''. Most fans consider ''Cut The Crap'' (the bands final album) to be, well, crap.
* Music/CobraStarship pulled this a few times. Their first album was mostly just PopPunk with synths. Their second album moved them into the mix of dance-pop, pop punk and [=synthpop=] and sarcasm that they became famous for. Their third continued with this, leading to their breakthrough song "Good Girls Go Bad". Their fourth album ''Night Shades'' has lead to many outcries of TheyChangedItNowItSucks due to them embracing a streamlined dance-pop club sound without an inch of irony.
* Music/{{Coldplay}} started as a soft, early-Music/{{Radiohead}}-esque band with 2000's ''Parachutes,'' then switched to a harder, more Music/{{U2}}-like sound on ''A Rush of Blood to the Head'' in 2002. 2005's ''X&Y'' averted this trope ([[ItsTheSameNowItSucks which many didn't like]]), but in 2008 ''Viva La Vida'' introduced a radically different art-rock/baroque pop/world beat sound reminiscent of Music/ArcadeFire. And then they changed again, with 2011 seeing the heavily electro-rock/R&B-influenced ''Mylo Xyloto'' (with guest vocals from, of all people, Music/{{Rihanna}}.)
* ChrisCornell's ''Scream'', combining his rock crooning with producer Timbaland's trademark R&B and pop. It tanked miserably, being described as "[[http://www.allmusic.com/album/r1436554 an exercise in misguided ambition that makes no sense outside of pure theory]]".
* Music/ElvisCostello 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 Name 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.
* Cathal Coughlan. To begin with, his duo Music/{{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.
* CrashTestDummies - ''Give Yourself A Hand'', which is a radical departure from their earlier folk rock. The album mixes Funk Rock, RnB, Chillout, Trip Hop, Drum & Bass and even includes a string ballad. Brad Roberts tries new vocal styles - in addition to his original baritone, he pulls off an impressive falsetto and even unleashes his inner Mike Patton/Anthony Kiedis on some of the funkier tracks, which have very raunchy lyrics. Ellen Reid, previously the backing singer, has lead vocals on a few songs. It is hard to believe this is the same band who did "Mmm Mmm Mmm Mmm" a few years before.
* Music/TheCruxshadows were standard darkwave up until ''Wishfire'', whence they changed to a blend of Futurepop and Gothic AlternativeDance.
* TheCrystalMethod's ''Divided By Night'' consists mainly of chilled midtempo/downtempo pieces, as opposed to their usual upbeat breaks, although it has a few of those too.
* TheCrystallineEffect's sound is generally electronic/trip-hop, and doesn't tend to have very heavy beats. Their latest EP, ''Industrial Re-Evolution'', sounds very much like industrial and does.
* When The Cult started out, they were playing trippy psychedelic post-punk. With their third album, ''Electric'', they suddenly started playing [[Music/{{ACDC}} AC/DC-esque]] hard rock.
* Music/TheCure 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''.
* MileyCyrus' first non-HannahMontana solo album, ''Meet Miley Cyrus'', was more traditionally TeenPop influenced, while ''Breakout'' showed more rock influences. Her EP, ''The Time Of Our Lives'' brought a harder sound on some tracks, with hip-hop influences and power ballads. ''Can't Be Tamed'' is more electro-pop.
** And then ''Bangerz'' came along.
* Pretty much every Dead or Alive album.
* Music/TheDecemberists - ''The Hazards of Love'': Kept the folk influences, but replaced the baroque pop influences with prog.
** Followed up with ''The King Is Dead'' in a way that proves that labels can be deceptive. Both their previous work and this album could be described as indie folk, but before this the "folk" element was Old World folk songs, particularly English and Irish ones. The folk in ''The King Is Dead'' is pure Americana, and a fair assessment of it would be "[[BruceSpringsteen The Boss]] gone [[CountryMusic Country]]".
* Decoded Feedback's ''Shockwave'' was more minimalistic than their other albums. They returned to the Hellectro-EBM style afterwards.
* Music/DeepPurple's sound changed with every new line-up, starting off as hard-edged psychedelic rock and moving to progressive rock by their third album, at which point they changed line-ups and shifted to straight hard rock/heavy metal until they changed line-ups again, playing more blues-rock and funk-flavored hard rock. Their sound has stabilized nowadays to a classic-flavored hard rock, however.
* DefLeppard went with a more organic sound with darker lyrical content in 1996 with the ''Slang'' album. Their rationale at the time was that, with HairMetal being DeaderThanDisco, they may as well make the most "Un-DefLeppard" album they could (Though one member said that, in hindsight, they probably included some of those ideas a little too eagerly, without doing proper quality control beforehand), because they were going to get slammed no matter what they did. Reaction was mixed, the album wasn't very successful in the USA, and the band returned to their trademark sound with 1999s ''Euphoria''.
* {{Deftones}} have had something of a shift in sound with every album. ''Adrenaline'' was pretty much straight-out NuMetal, while ''Around the Fur'' had a similar direction, but included electronics and an overall slightly more experimental sound. ''White Pony'' was the biggest shift, switching the band from nu-metal to experimental rock with heavy use of samples. Their self-titled album had Frank Delgado using keyboards instead of turntables, and had a very eclectic sound (but overall heavier than ''White Pony''). ''Saturday Night Wrist'' and ''Diamond Eyes'' are the second big shift, being a lot more melodic and positive than their previous work.
* DepecheMode, at least six times. When main songwriter Vince Clarke left after the first album ("Speak and Spell") and Martin Gore (who had contributed a few songs) took over, the second album ("A Broken Frame") was much more "moody" sounding than Clarke's work while they were oddly marketed as a "boy band." For the next album ("Construction Time Again"), the classically trained Alan Wilder, Clarke's replacement at live shows as a keyboard player, became an official member while Gareth Jones engineered and later produced, and they helped shape what we know now as the band's sound as they started using samplers and the songs took a more dark and industrial turn, epitomized in ''"Black Celebration"''. After 3 albums together, DM and Jones had an amicable split and the next album, "Music For the Masses" had a similar sound but was largely self-produced with Dave Bascombe engineering. The biggest change may have been when Flood (who made a great team with Wilder) came in to produce "Violator," which introduced guitars as a staple and gave the world "Personal Jesus" and "Enjoy the Silence." With grunge becoming huge and drug addled leader singer Dave Gahan immersing himself in the local music scene after moving to LA, "Songs of Faith and Devotion," the second album with Flood, was full on rock, while still recognizably Depeche Mode with the recognizable songwriting and layered arrangements. Wilder left, and while "Ultra" was billed as a return to the "Violator" era sound, "Exciter" was essentially "the soft and sensual side of Depeche Mode." "Playing the Angel" went back to the more "Violator" style sound, and then in 2009, they released "Sounds of the Universe," which was yet again completely different from all of their other albums as they used old analog synthesizers that Gore bought on eBay in new and bizarre ways. That's it so far. Whew.
* When their original vocalist was swapped out for one with a much softer voice, Destroy the Runner went from hard-hitting [[ChristianRock Christian metalcore]] on their debut album ''Saints'', to melodic [[NotChristianRock ambiguously-spiritual metal]] on their second album, ''I, Lucifer''. Many fans were not pleased.
* Music/DirEnGrey started with experimental alternative rock, sometimes with a more poppy sound, and with a VisualKei look. This was largely dropped on ''Macabre'', in favour of a simpler look and a more progressive feel. The ''Six Ugly'' EP was where they began to focus more on the metal elements of their sound, moving towards more elements of nu-metal and metalcore on ''Withering to Death'' and ''The Marrow of a Bone''. With the release of ''Uroboros'', they began gravitating back to a progressive metal style, but in a distinctly different way than on ''Macabre'' and ''Kisou''.
* 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.
* Music/TheDoors. The first two albums contained the brand of organ based psychedelic rock that they're known for. ''Waiting For The Sun'' was more eclectic based, having pop tunes, ballads and other oddities. ''The Soft Parade'' has a more big band sound, ''Morrison Hotel'' goes over the styles of the previous albums and ''L.A. Woman'' showcased the band during barroom blues.
* Music/NickDrake's first two albums featured a backing band to give his music a fuller sound. His third and final album, ''Pink Moon,'' went for a more stripped down sound with Drake being the sole performer; most tracks feature no other instruments besides guitar and vocals, with the only exception being a bit of piano overdubs in the title track.
* Music/DreamTheater does this quite often, the most notable one being when ExecutiveMeddling forced ''Falling Into Infinity'' to take on a more mainstream rock sound than the ProgressiveMetal of their earlier albums.
* Music/BobDylan many times, including:
** Electric folk rock with ''Bringin' it All Back Home''
** Country (''Nashville Skyline'')
** Gospel rock (''Slow Train Coming'' and ''Saved'')
** Synth-pop (several tracks on ''Empire Burlesque'')
** Return to traditional acoustic folk (''Good as I Been to You, World Gone Wrong'')
** Blues rock (''Time Out of Mind'')
* EighteenVisions Initially started out as a hardcore/metal band with a lot of screaming lyrics. In their final, self-titled album, they mostly dropped the screaming and worked a lot more 80s rock influences into their songs, creating an album that turned off a lot of long-time fans, but appealed to a new set of fans. Unfortunately, the band broke up shortly after the release of that album.
* ElectricLightOrchestra's ''Discovery'': Compared to their previous work, it's well, [[SignificantAnagram very disco]].
* EmilieAutumn went from jazz pop with Rnb influences to electronic industrial power rock/metal in her second album, influenced by her CreatorBreakdown.
* Enter Shikari's first album, 2007's ''Take To The Skies'', was more or less screamo 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. [[WordOfGod According to the band]], the forthcoming album is going to include influences by both SigurRos and Rammstein.
* {{Erasure}}'s 2000 album ''Loveboat''. It can best be described as "Erasure goes indie", with a lo-fi, "basement-y" feel, heavier bass, and much greater use of acoustic instruments. in stark contrast to their typical campy, danceable [=synthpop=]. Fans ''[[TheyChangedItNowItSucks hated]]'' it because the style was so different. A sizable majority of the fanbase consider it FanonDiscontinuity and the end of classic Erasure. It sold terribly in both the UK and the US and it didn't get released in the US until 2003 because Maverick Records dropped them like a hot potato when they refused to remix a good portion of the tracks. Even lead singer Andy Bell [[CreatorBacklash panned it]] [[OldShame years later]]. The worst part? Critics tended to like it, and it's a well-written album with a subdued, personal sound to it.
* One of the most radical shifts in style would be Everything but the Girl, the jazzy adult pop duo. When their song “Missing” became a massive hit after being subjected to a dance-oriented remix, they reinvented them as a synth-based techno-styled act. The result was another major case of BrokenBase.
* FallOutBoy started out with a mix of fast paced PopPunk and dark Music/{{emo}} introspection (with occasional background screams from pete) on their first album. They're follow up (and breakthrough) album ''From Under the Cork Tree" continued this sound with a much more anthemic vibe. "Infinity on high" added elements of {{Soul}}, {{R&B}}, and BaroquePop. Their last album before the hiatus was "Folie A Deux" which featured a schizophrenic blend of emo, blue eyed soul, Beatles-esque psychedelia, arena rock riffs, and new wave.
** ''Save Rock & Roll''; their come back album veered much closer to pure pop, combining elements of alot of modern trends.
** ''PAX AM Days'' is a total reverse of that direction since it's throwback 80's HardcorePunk.
* FallingInReverse started as a {{Metalcore}} band mixed with PopPunk and HairMetal elements. It was decently received and was a large seller. For the next album they decided to make their sound more distinctive, resulting in the absolute genre mess that is "Fashionably Late", a bizarre mish mash of {{Metalcore}}, TrapMusic, {{Dubstep}}, and {{Electropop}}. It would border on {{Crunkcore}} if that hadn't died out with Myspace. It was universally panned by everyone including former fans.
* 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.
* FearFactory started off with a death metal sound on ''Soul of a New Machine''. It wasn't until ''Demanufacture'' when they found their signature sound.
* {{Feeder}} seem to have a habit of changing every two albums. ''Swim'' and ''Polythene'' are pretty heavy grungey style stuff, ''Yesterday Went Too Soon'' and ''Echo Park'' are more straightforward rock albums, with a bit of punk influence, ''Comfort In Sound'' and ''Pushing The Senses'' are much softer (but still with some straight up rock songs, like "Godzilla" and "Helium"). ''Silent Cry'' and ''Renegades'' seem to be if you shoved all their previous albums into a blender, with the softer stuff on ''Silent Cry'' and the heavier stuff on ''Renegades''.
* LupeFiasco, with his third album ''Lasers'', due to heavy ExecutiveMeddling. Atlantic Records saw the success the single 'Superstar' had made upon his previous album The Cool, and thus wanted him to continue going down that path. It must also be noted at the time, ''Lasers'' was heavily anticipated, due to the solid approbation of his first two albums and especially with back-and-forth rumors of Lupe going into early retirement. After molding the album accordingly, Lasers finally got a release date. While the lyricism was still mostly genuine, it featured a heavy pop-oriented slightly electro sound that a good portion of the fanbase didn't sit well with.
* Finch's ''Say Hello to Sunshine'', which was a huge departure from their [[PopPunk poppier]] [[Music/{{Emo}} 2000s Emo]] sound that they helped to helm on their first album, and their foray into [[GrowingTheBeard heavier, more experimental territory]]. Needless to say, it alienated [[BaseBreaker a lot of fans]] [[TheyChangedItNowItSucks of their old sound]].
* The Music/FlamingLips kind of had a series of these after 1995, probably owed to lead guitarist Ronald Jones departing: the last time they had a guitarist leave (Jonathan Donahue, also of MercuryRev) they replaced him with another one, but this time they expanded drummer Steven Drozd's role to include guitar and synthesizers. Thus, ''Zaireeka'' and especially ''The Soft Bulletin'' had him using synthesized strings for an orchestral effect, while ''Yoshimi Vs. The Pink Robots'' added drum machines and more of an electronic influence. Guitars were more prominent on ''At War With The Mystics'' and ''Embryonic'', but even those weren't quite the same: ''AWWTM'' felt a little like ''Yoshimi'' mixed with their earlier material, but ''Embryonic'' was actually DarkerAndEdgier than usual, with lots of ominous bass and more of a {{Krautrock}} influence.
* Music/FleetwoodMac started as a moderately successful blues-rock band led by guitarist Peter Green known for hard-rockin' songs with heavy riffs such as "Oh Well" and "The Green Manalishi (with the Two Pronged Crown)". One long complicated history later, including Green and the other guitarist quitting due to mental illness and joining a cult and other replacements that didn't go much anywhere, Stevie Nicks and Lindsey Buckingham joined the band, now relocated to California. With ''Fleetwood Mac'' they changed to a pop/rock style inspired mostly by the Beatles, Beach Boys and the mellow Californian soft rock scene. They refined the formula and obtained massive success with ''Rumours'' and ''Tusk'', and never looked back.
** Between all of the Peter Green era guitarists leaving and Buckingham/Nicks joining, the band was led by singers/songwriters Bob Welch and Christine McVie, sounding closer to the ''Rumours'' lineup but with a slight psychedelic vibe.
** There were still a few New Sound Albums even in their pop era. ''Tusk'', the follow up 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 synthesizeritis.
* The Music/FooFighters, after their {{Post-Grunge}}-heavy first two albums (SelfTitledAlbum and ''The Colour and The Shape''), have decided to explore different styles - including an all-acoustic disc for their double-disc set, ''In Your Honour''.
** ''The Colour And The Shape'' is also their only album with a notable Music/{{Emo}} influence, which was caused by the band's bassist and then drummer (who had both been in the genre's TropeCodifier 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.
* [[TheSixties 60s]] pop vocal group the Four Seasons went psychedelic with their album ''Genuine Imitation Life Gazette'.
* FranzFerdinand executed one of these with ''Tonight: Franz Ferdinand'', breaking with the fairly typical (if well-executed) guitar-driven post-punk revival sound of their first two albums for a synthesizer-driven, dance-y sound. It works well, and they remain recognizably them.
* Freaky Chakra shifted from the trancy acid techno of ''Lowdown Motivator'' to DarkerAndEdgier [[CyberpunkIsTechno cyberpunk-esque techno breaks]] with ''Blacklight Fantasy'', then to LighterAndSofter electro/tech house with ''Moonroof Operator''.
* FrontLineAssembly started out as an {{Industrial}} band and weren't averse to occasional use of guitars. Then they decided to FollowTheLeader and make an entirely IndustrialMetal album called ''Millenium''. They went back to {{Industrial}} for their next album (although they used quite a bit of guitar on it), and for the album after that (''[=FLAvour Of The Weak=]'') they made a complete GenreShift to [=IDM=] and Drum 'n' Bass. They began to get back to {{Industrial}} over time, although they retained elements from [=IDM=] and Drum 'n' Bass in their sound. ''Improvised Electronic Device'' returned to the IndustrialMetal elements of ''Millenium'', and their latest two albums venture into {{dubstep}} territory.
* Music/{{Fun}}'s ''Some Nights'': Their debut, ''Aim And Ignite'', was BaroquePop-leaning indie, not that dissimilar from Nate Ruess's previous band The Format. ''Some Nights'' still had the BaroquePop elements, but had a much more electronic sound, with heavy use of drum machines, synthesizers, and even some vocoder. The change was reportedly due to the band starting to listen to newer hip hop, with KanyeWest's ''My Beautiful Dark Twisted Fantasy'' being noted as a particular influence.
* Better known for funky house, Funkstar De Luxe had a total OutOfGenreExperience with ''No Man's Planet'', which consisted of techno-industrial/EBM and dark ambient. He appears to have switched back to more familiar sounds as of late.
* Music/{{Genesis}}, which began as a vaguely psychedelic pop band with ''From Genesis To Revelation'' in 1969, changed to ProgressiveRock a year later with ''Trespass''. They stayed this way even after PeterGabriel's departure(and replacement by drummer PhilCollins) 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 entierly 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 [[BrokenBase older fanbase]] was alienated from the new style.
* Music/GentleGiant 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 ProgressiveRock was falling out of favor, and attempting to appeal to a pop audience with shorter, simpler songs. It didn't work.
* ''Life In The So-Called Space Age'' by God Lives Underwater. Their earlier releases were a mix of IndustrialMetal and AlternativeMetal, but this one had them shift towards a much more electronic, [=SynthPop=]-influenced sound. Fittingly, the album title was a ShoutOut to the back cover of DepecheMode's ''Black Celebration''. The [[SavedFromDevelopmentHell long-delayed]] followup ''Up Off The Floor'' largely went back to their earlier sound.
* GodspeedYouBlackEmperor's last album, ''Yanqui U.X.O.''. In terms of composition, it's not a huge GenreShift, but there is more of an emphasis on notes and less on drones, guitar washes, and noise. More noticeably, the album is missing 2 things the band was well-known for: cryptic, spoken-word field recordings and individually named movements that made up larger tracks. Also, thanks to engineer Steve Albini, the album's sound was more raw and direct than the others. [[BrokenBase The reception of the album has been fairly divided among both critics and fans]].
* Believe it or not, The Goo Goo Dolls started as a punk rock band. After 2 punk albums, with 1990's ''Hold Me Up'' they gradually began to change over to the lighter pop-rock they became known for in TheNineties. Their 1987 debut album isn't even in print today.
* Nina Gordon, one of the two singer/songwriters for 90's alt-rockers Veruca Salt went adult contemporary pop for her debut solo album ''Tonight and the Rest of My Life''.
* The third {{Gorillaz}} album 'Plastic Beach' has a larger pop element to it than the previous albums,and also features more collaboration with other artists, ranging from Mos Def to Mick Jones. This album was originally said to be their last, but things seem to be going differently.
** With ''Demon Days'', they went from the more hip hop influenced first album towards a more alternative direction, but still including some hip hop.
** ''The Fall'' ranges from techno to trip hop to nobody knows. It's awesome, still, and it has the touch of Gorillaz.
* EllieGoulding with "Halycon". Justified in that her boyfriend (at the time) was {{Skrillex}}.
* GrandFunkRailroad had this with their 1972 album ''Phoenix''. It was their first without producer/manager Terry Knight, the first with newly-added keyboardist Craig Frost and marked the beginning of more involvement in singing and songwriting by drummer Don Brewer.
* Amy Grant started out being strictly inspirational contemporary Christian music - then, by ''Unguarded'', she's taken on a more mainstream pop style. Then, by ''Heart In Motion'', she started performing songs that weren't explicitly Christian - and started getting airplay on mainstream pop stations.
* GreenDay in TheNineties used to be a pop-punk band who wrote catchy songs about being lazy, being insane, masturbating, being bored the works. Cue ''AmericanIdiot'' and their shift to a more complex style inspired by RockOpera and TheWho.
* Music/GunsNRoses did this for every album. From the sleazy L.A. club rock of ''Appetite for Destruction'' to mellow acoustic tracks on ''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.
[[/folder]]

[[folder:Bands and Artists H-O]]
* {{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 TheEighties, 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.
* {{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.
* The Horrors switched from the gothy garage-punk of their first album ''Strange House'' to {{Shoegazing}} on their second album, ''Primary Colours''. They've [[GenreShift kept this style]] for their third album ''Skying''.
* A rather different example: [[{{K-On}} Houkago Tea Time]]'s songs are quite different in types of rock genres: "Fuwa Fuwa Time" is alternative rock (with some rapping at one point, even), "Don't Say Lazy" has some sort of melodic, but also a bit of post-hardcore rock feel into it. "Happy? Sorry!" is [=Synthpop=], "Sweet Bitter Beauty Song" kinda sounds Grunge-esque due to the guitar shredding. "Shrew Way To Go" is mathrock due to the different time sculptures, and "Hello Little Girl" being no doubt their softest song. These are just the first season songs.
** Examples for the second season songs include both "Go! Go! Maniac!" and "Utauyo! Miracle", which sound eerily mathcore-esque, but is still mathrock since they don't even scream. "Girls In Wonderland" has tumpets used, "Listen" sounds quite jazzy thanks to the keyboards, "Early Summer Rain (20 Love)" sounds quite much like a radio-friendly modern rock song.
** For a slightly-straight example, the "Second" album feels like listening through a children's album. Yui's vocals sound baby-ish for most of it. Note that songs done by Mio always seem to be the more heavier songs.
* Music/IllNino 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-MTM LinkinPark. ''One Nation Underground'' is a metal GenreRoulette, going from a GrooveMetal-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 NuMetal influence in place of a ProgressiveMetal sound. ''Dead New World'' left behind much of the Latin, and switched to a much more aggressive sound similar to ThrashMetal / GrooveMetal, 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.
* After helping define Melodic Death Metal in Sweden, In Flames began changing their style with ''Colony'' and to a greater extent with ''Clayman''. Then they released ''Reroute to Remain'' which is now considered by fans where "Old" ''In Flames'' ends and "New" ''In Flames'' begins. Each album after that has had its own distinct sound. This has lead to one hell of a BrokenBase. Just check the comments on any of their music videos.
* {{Music/Incubus}} have done this roughly twice. ''A Crow Left of the Murder...'' had a much less polished sound (and a new bass player), with the trend continuing on ''Light Grenades'', though heavy songs were still present. ''If Not Now, When?'' was a significant departure, with slower, simpler songs and an intentional absence of aggressive guitars.
* ''Carnival of Carnage'' sounds very little like later Music/InsaneClownPosse albums; it makes little reference to circus tropes and is much more a "[[PoliticalHipHop Fuck the rich]]" album. ''Ringmaster'' introduced the Dark Carnival, but the group's sound didn't codify until ''Riddlebox''.
* Music/IronMaiden incorporated guitar synths on ''Somewhere In Time'', and full-fledged synthesizers on the ConceptAlbum ''Seventh Son of a Seventh Son''. Though the biggest change was when Blaze Bayley joined the band, showing a darker and more ProgressiveRock-influenced sound which attracted many detractors.
* MichaelJackson had a few. ''Off the Wall'' was a much more mature effort after his four previous teen-pop Motown albums (MJ was not allowed any creative control during his Motown tenure). ''Dangerous'' incorporated hip hop elements for the first time. His final album ''Invincible'' has a sound that can best be described as remiscent of the late 90s-early 00s teen-pop wave.
* James started with a more folky sounds with songs like "Hymn From A Village" and "What For". They then progressed to a bigger sound on ''Gold Mother'' and ''Seven'' with the addition of a trumpet player. With ''Laid'' they lost the trumpets and returned to a more stripped down sound. ''Whiplash'' contained a few straight up pop rock songs like "She's a Star", "Tomorrow", "Homeboy" and "Lost a Friend" while also containing what can only be described as "experimental" tracks such as "Greenpeace" and "Go To The Bank".
* Most of JeanMichelJarre's albums were New Sound Albums. ''Oxygène'' made him famous. ''Equinoxe'' sounded almost the same. Then came six albums (not counting ''Music For Supermarkets'' and live albums), none of which sounded like any of their respective predecessors, especially not like ''Oxygène'' and ''Equinoxe'', because both Jarre's style and electronic instrument technology evolved. ''Oxygène 7-13'' from 1997 was a partial return to Jarre's old sound, but all releases from then to the re-recording of ''Oxygène'' from 2007 were individual New Sound Albums again.
* JarsOfClay does one of these every second album or so.
* JethroTull began as a Cream-like blues-rock band tinged with bluesy/jazzy flute playing with ''This Was'', then added more folk and pop influences with ''Stand Up''. ''Benefit'' introduced a harder rock sound. ''Aqualung'' brought the group into a more progressive/conceptual style, which they followed up with two EpicRocking album-length concept albums. ''War Child'', ''Minstrel In The Gallery'', and ''Too Old To Rock And Roll, Too Young too Die'', introduced an Elizabethan folk/hard rock/prog/classic rock style with shorter songs. ''Songs From The Wood'', ''Heavy Horses'' and ''Stormwatch'' rounded off the decade with progressive folk-rock and more of the acoustic side. TheEighties saw Tull dabble in synthesizeritis and [[TotallyRadical modern production techniques]], with more emphasis on electric guitar by the late eighties (1987's comeback album ''Crest Of A Knave'' would even beat Metallica fot Best Hard Rock/Hevy Metal album at the Grammy's). They would gradually return to more folk influences (and some world music flavors) by TheNineties. Tull's last album is a very acoustic-based ChristmasAlbum reminiscent of their folk-rock Seventies style.
* Jewel. One example would be ''0304'', the synthesizer heavy dance pop album she put out after primarily being known for acoustic adult alternative. Strangely averted with her country album ''Perfectly Clear'', which differed only in that John Rich wrote some of the songs and others had hints of steel guitar.
* After establishing his style in the 1970s, BillyJoel began jumping all over the place in TheEighties. ''Glass Houses'' in 1980 was mostly guitar rock (for a piano player), followed by ''The Nylon Curtain'', a Beatles-esque album with a lot of synth in 1982, and only one year later came ''An Innocent Man'', which was a retro doo-wop album. His next release, 1986's ''The Bridge'', was pretty standard mid-80s radio rock.
* EltonJohn, a prolific and eclectic singer-songwriter, had several New Sound Albums. ''Tumbleweed Connection'' was a country-rock album inspired by the Old West. ''Honky Chateau'' featured the classic Elton John Band in full for the first time, abandoning the use of heavy and dramatic orchestration for a more group-based rock sound and more use of the guitar. ''Rock Of The Westies'' saw a new group lineup and a harder blues-rock sound in places. ''Victim Of Love'', released in 1979, was Elton's attempt at disco. ''Too Low For Zero'', hiscomeback album, combined the classic Elton sound with heavier use of modern synthesizers, sequencers and drum machines and a modern production, and saw the return of his classic backing band. ''Ice On Fire'' saw a new backing band and a more modern MOR/synth-pop sound, which continued until the more organic ''Songs From The West Coast'' in 2001.
* Music/JudasPriest. They simplified their sound (but still sticking to metal) with ''Killing Machine'' and ''British Steel'', and continued to get more commercial throughout the decade, culminating in the synthesizer-laden pop-metal of ''Turbo''. They returned to speed metal again with ''Painkiller'', and during the Tim "Ripper" Owens era they took on a bit more of a late-80's thrash influence. With ''Angel of Retribution'' and their reunion with Rob Halford, they basically went back to their pre-''Killing Machine'' sound.
* Music/JulienK started off as IndustrialMetal with electronic and dance elements. For their sophomore album they moved to a much more poppy, dancey, 80s-influenced sound. Their former bassist wasn't thrilled with the direction they were taking, and left the band.
* Juno Reactor started out as goa/psy trance (aside from the dark {{Ambient}} album ''Luciana''), but gradually evolved into a tribal EBM-type sound. ''Gods and Monsters'' took an even more radical shift, [[GenreAdultery dabbling in jazz, trip-hop, and dubstep]]. ''The Golden Sun of the Great East'' revisits their trance heritage, while retaining elements of their contemporary style.
* {{Kamelot}} started as a standard power metal band with a god-awful [[{{Queensryche}} Geoff Tate]] wanna be of a vocalist, but upon said vocalist quitting and the subsequent addition of Norwegian opera-style vocalist [[{{Conception}} 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 [[GrowingTheBeard beard growth]].
* ''Vinyl Confessions'' by Kansas represented a major lyrical shift towards [[ChristianRock 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.
* With ''Discouraged Ones'', Katatonia shifted from death/doom into alternative metal, using exclusively clean vocals. ''Viva Emptiness'' was another one, Returning to it's heavier roots towards a Gothic/Doom sound with the progressive ambient guitar work of the early career making a return.
* {{Keane}}'s first 2 albums were straight piano pop-rock. Their 3rd album onward were an 80s [=synthpop=] revival, full of synths, amplified basslines, and electronic drums.
* Kerli's second album, which includes the electropop singles "Army of Love" and "Zero Gravity", is very different in style from her first album, which was alternative/indie rock. She describes the album's style as "bubblegum goth".
* KingCrimson changes their sound every other album.
** ''In The Court of the Crimson King'' and ''In the Wake of Poseidon'' are progressive rock with a good bit of jazz thrown in.
** ''Lizard'' and ''Islands'' are slightly more symphonic.
** The ditched their wind instruments and went totally metal on ''Larks' Tongues in Aspic'', ''Starless and Bible Black'' and ''Red''.
** A couple of years later (after a hiatus) they were suddenly making new-wave-esque prog.
** ''THRAK'' was kind of a combination of the metal and new-wave incarnations.
** ''The [=ConstruKction=] of Light'' featured only electronic percussion and was produced much more cleanly than THRAK.
** ''The Power To Believe'' refined the style explored on ''THRAK'' and ''The ConstruKction of Light'', but also included some influence from ambient music in the various parts of the title track.
* Music/{{KISS}}'s ''Music From The Elder'' was hated by fans, and later, the band themselves, and ''Revenge'' was met with lukewarm responses, both changing from the classic KISS style. Both were followed by returns to classic KISS (''Creatures of the Night'' for the former, the reunion album ''Psycho Circus'' for the latter).
* {{Music/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 WinBackTheCrowd, 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}}.
* Ingo Kunzi, for his second Ayla album, ''Unreleased Secrets'', after a nearly 8 year hiatus, shifted more to a mid/downtempo chillout style, with "Tribal Symphony" being the only standard trance tune on the album.
* Laserdance, from ''Hypermagic'' to ''The Guardian of Forever'', shifted to a faster Hi-NRG-esque sound, and ''TGOF'' had a [[HalfwayPlotSwitch Halfway Genre Switch]] to techno-trance. Their sound changed again with their swan song album, ''Strikes Back'', due to being co-produced by Julius Wijnmalen, although rekindling the spirit of their original style.
* Music/LedZeppelin, with their third album. The first two are mostly heavy blues-rock material; the third features only one blues song and an entire side of acoustic folk songs. Later albums would continue to explore different styles, but with hard rock being dominant.
** ''In Through The Out Door'' features an uncharacteristic amount of synthesizer on a number of tracks, courtesy of John Paul Jones' then-cutting edge Yamaha GX-1.
* Lampshaded by LemonJelly, who wrote on their album '64 to '95: "This is our new album. It's not like our old albums."
* {{Lights}}' second album, ''Siberia'', is more experimental and dubstep-influenced.
* Rap superstar Music/LilWayne decided to follow in the footsteps of his friend Music/KidRock and record a RapRock album entitled ''Rebirth''.
* LinkinPark - After managing to breath a bit more life into NuMetal with their IDM and electronica influenced Hybrid Theory and Meteora, ''Minutes to Midnight'' led the band in a new direction more influenced by hard rock and U2's arena filling Post-punk. Their next few albums took them in a direction that [[GenreRoulette they may not know]].
** ''A Thousand Suns'', on the other hand, decided to focus more on synths and electronic rock.
* Little Boots' debut album, ''Hands'' was 80's-style electro[=/=][=synthpop=], now she has {{genre shift}}ed to a {{retraux}} house-type sound in her latest few singles.
* DemiLovato is exploring a grittier, more hip-hop/R&B-influenced style on her third album, ''Unbroken'', than her earlier pop-rock sound.
* MachineHead started off as straightforward GrooveMetal for their first two albums. Their next two albums brought in NuMetal, but for some reason, they switched back to GrooveMetal for ''Through the Ashes of Empires''. Four years later, they made the ultimate change; switching to ThrashMetal with ''The Blackening'', even adding several long songs, a then-first for the band. ''Unto the Locust'' continued this and turned it UpToEleven, and whatever they do next...well, we'll have to wait and see.
* {{Madonna}} - ''Bedtime Stories'' was R&B, which lead to ''Ray of Light'' and ''Music'', which were electronic albums. ''Hard Candy'' sounds most like her '80s albums with urban and electronic influences.
* MarilynManson has done this with almost every album. His first album was pretty much straight IndustrialMetal, with "Antichrist Superstar" following the same lines with more elements of traditional Industrial. "Mechanical Animals" was a much LighterAndSofter mix of his old sound with GlamRock. "Holy Wood" combined the accesibility of mechanical animals with the darkness of his first two resulting in a perfect combination of his two styles, and the completion of his concept trilogy.
** "Golden Age of the Grotesque" was the first where[[HeterosexualLifePartners Twiggy]] [[HoYay Ramirez]] was not co-writing (or a part of the band) was more IndustrialMetal.
** ''Eat Me, Drink Me'' was one of his biggest shifts, completely abandoning Industrial for a sound influenced by 80's GothRock, {{New Wave|Music}}, and 2000's post-hardcore style Music/{{Emo}}, and less of a focus on shocking and more of a focus on his recent heartbreaks.
** After Twiggy returned, having founded GoonMoon, been a part of Music/APerfectCircle and been the live bassist for Music/NineInchNails, the next album, ''The High End of Low'', had a much different sound, incorporating some Industrial Metal elements, folk ("Four Rusted Horses" is actually an unreleased Goon Moon song, with a new set of lyrics, the original Twiggy version is on Youtube), more Glam Rock, metal and pretty much just a hopping into every genre that they had ever touched (which, as a result, makes it just as eclectic as what Twiggy was doing with Goon Moon, in its own way). Their latest album, ''Born Villain'', is more of a metal sound.
* Midnight Resistance was trancy [[{{Industrial}} Future Pop]] on his first album, but for his second album, he switched to {{Emo}}[=/=]GothRock with a touch of DarkWave.
* Mike Mareen's 1988 sophomore album, ''Let's Start Now'', started to shift from his Italo-Disco/Hi-NRG roots to more contemporary dance[=/=][=synthpop=], as well as being somewhat DarkerAndEdgier.
* Music/MarinaAndTheDiamonds ([[IAmTheBand It's only one person!]]) started off with indie pop with {{Retraux}} influences, but starting with ''Electra Heart'' she switched to an electropop sound. Apparantly, [[CriticalDissonance the critics were the only ones saying]] "[[TheyChangedItNowItSucks She Changed Her Music, Now She Sucks]]", as it was acclaimed by her fans.
* {{McFly}}, a band commonly known for their chirpy Pop-Rock music. In 2010, they released ''Above The Noise'', an album filled with mostly electro-pop music, with heavy involvement from TaioCruz. [[BrokenBase Fans weren't impressed]].
* {{mewithoutYou}}- ''It's All Crazy! It's All False! It's All A Dream! It's Alright!'' contained more acoustic than electric, a highly folky campire sound, and actual SINGING by Aaron Weiss.
** The album contains the most specific Christian ("A Stick, a Carrot, and a String") and at the same time ''Sufi and Buddhist'' ("Allah! Allah! Allah!" and "Cattail Down") influences so far, confusing some Christian fans unaware of Weiss's Religious history.
* Men Without Hats were a SynthPop/ {{New Wave|Music}} band throughout the eighties. The 1991 album ''Sideways'' was a surprising shift towards AlternativeRock, based around distorted electric guitar instead of the synthesizer. They broke up for about a decade due to the album's lack of commercial success, and the two albums under the Men Without Hats name that were released since, ''No Hats Beyond This Point'' and ''Love in the Age of War'', both heavily featured synthesizers again.
* Music/{{Metallica}} and Music/{{Megadeth}} simplified their style almost simultaneously, with ''Metallica'' (''The Black Album'') for the former and ''Countdown to Extinction'' for the latter. While initially successful, both bands continued with the simplification for the rest of TheNineties, to predictably diminishing returns.
** 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 [[UnpleasableFanbase Metallica fans]]), though the latter's still pretty good.
** Then Metallica collaborated with Music/LouReed in ''Lulu'', a weird ConceptAlbum based on an opera which was panned by almost everyone who heard it. At the same time, Megadeth released ''Th1rt3en''. An album that, while well received overall, was criticized by some for having a decidedly lighter and more stripped down style of metal than their previous three albums. Less than two years later, they released ''Super Collider''. An album that was almost as badly received as ''Risk''.
* Mind.in.a.box is mainly darkwave/futurepop, but ''R.E.T.R.O'' took an [[OutOfGenreExperience unexpected detour]] to {{chiptune}}s and Commodore 64 remixes.
* Few bands have pulled off a radical GenreShift more successfully than Music/{{Ministry}}. Their first two albums were ordinary, if slightly pessimistic, {{New Wave|Music}} '80s pop (one reviewer dubbed them "The Human League's surly little brother"). On their third album, ''The Land of Rape and Honey'' they revamped their lineup and completely changed their sound, abandoning pop for a [[TropeMakers brand new musical style]] that would become known as IndustrialMetal and catapulting themselves to stardom in the process.
* JoniMitchell began injecting jazzy sounds into her folk-rock as early as 1972’s ''For the Roses'', but that still didn’t prepare listeners for the almost abstract, full-tilt jazz-rock of 1975’s ''The Hissing of Summer Lawns'' and ensuing albums.
* ModestMouse 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.." has a more produced feel.
* Prior to breaking internationally, AlanisMorissette had recorded two teen pop albums. Then, for ''Jagged Little Pill''(her first album to reach international success), she decided to go with a harder rocking decidedly {{Post-Grunge}} style.
* Music/MotleyCrue was a great hard rock 80's hair metal band. In 1992 lead singer Vince Neil left the band, he was than replaced by John Corabi. At this point, Hair Metal/Hard Rock is dead, and Grunge/Alt Rock became mainstream. John Corabi morphed the sound of Mötley Crüe into an grunge band. It did not fit well with their fans, they stop touring in arena, went to theaters, then eventually canceled the tour. This went on for a decade, with Vince Neil and Tommy Lee leave then return again from time to time.
* The Move's first album, along with the handful of singles that accompanied it like "Night of Fear" and "I Can Hear The Grass Grow", were light pop tunes typical of the late 1960s. The release of their second album, ''Shazam'', showcased the band embracing hard rock which would become the band's forte throughout the rest of their existence.
* Muse's ''The Resistance'' has raised cries of TheyChangedItNowItSucks. Really, every single Muse album makes changes to their sound. Compare ''Showbiz'' to ''Origin Of Symmetry'', ''Origin Of Symmetry'' to ''Absolution'' and so on. Frankly, it wasn't that radical departure from ''Black Holes'' at all. Other than the song with no guitar parts, which was a first. But still Muse.
* MyChemicalRomance pulls this with pretty much every album. ''I Brought You My Bullets, You Brought Me Your Love'' was straight ahead {{post-hardcore}}/[[Music/{{Emo}} Classic Emo]] with a lot of screamed lyrics, distorted guitars, and even a few straight ahead HardcorePunk songs. ''Three Cheers for Sweet Revenge'' largely continued with this sound but added PostPunk, GothRock and PopPunk, decreased the amount of screamed lyrics and focused more on Gerard Way's emotional vocals. This coupled with better song writing and the big hits "Helena" and "I'm not okay (I Promise)" made it a hit. Around this time they also embraced their neo-goth meets horror punk image. ''The Black Parade'' was a major shift since it was a full on ConceptAlbum influenced by 70's rock styles such as ProgressiveRock and the artier side of GlamRock, all while still staying true to their Music/{{Emo}} roots and becoming their MagnumOpus in the process. [[Music/DangerDaysTheTrueLivesOfTheFabulousKilljoys Danger Days]] was the biggest change as it had a very modern indie pop influenced sound, incorporating elements of SynthPop, garage rock, and PopPunk. It also had a much more vibrant feel to it which contrasted with their original sound and image, creating a BrokenBase.
* Music/NapalmDeath: ''Harmony Corruption'' onwards, when they started to take on death metal influences.
* Music/NewFoundGlory's music has always been steeped in pop-punk and hardcore influences, but their album ''Coming Home'' is considered their most different as the melodies were LighterAndSofter, with more involvement with piano, acoustics, and some female backing vocals. Their next few releases after this album went back to their hardcore roots.
* Although they'd released a couple of dance floor classics already such as "Everything's Gone Green" and "Tempation", and of course "Blue Monday", NewOrder's album ''Power, Corruption and Lies'' was where the band fully dived into their alternative dance persona. Their previous album, ''Movement'', sounded rather similar to JoyDivision.
* These New Puritans' first album, ''Beat Pyramid'', had a fairly normal post-punk revival sound. Their follow-up, ''Hidden'', was a dark and bizarre album based mostly on electronic beats, orchestral and choir arrangements and odd samples.
** And now their new album, ''Field of Reeds'', seems to be going in a more PostRock direction.
* ''Nilsson Schmilsson'' saw Music/HarryNilsson 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.
* {{Nirvana}} with the [[CreatorBreakdown depressive]] ''In Utero''.
** They did it with every single album of theirs. ''Bleach'' was a mix of sludgy hard rock/metal based off bands like Green River along with some more pop rock and punk fare. ''Nevermind'' was polished, glossy produced (for them, commercial) hard rock much more similar to The Pixies and Mudhoney along with the acoustic song Polly. ''Incesticide'' was a hodge podge mixture of Bleach era songs, straight punk rock covers, and covers turned into pop rock such as the song Son Of A Gun. ''In Utero'' was more of a hodge podge of heavy metal, heavily distorted hard rock like Sonic Youth, straight punk, and acoustic ballads such as the song Dumb. Finally ''MTV Unplugged'' was acoustic rock with more of a progressive focus such as the inclusion of the Cello on several songs and the addition of a second guitarist in Pat Smear. If anything, Nirvana managed to constantly revolve around certain elements within each album (metal/hard rock focused songs, an acoustic song or two, and a straight punk song or two.)
* Music/{{Nits}} are known for doing this with almost every album, to the point where critics and fans are disappointed when they ''don't''.
* NoDoubt's second big album, ''Return of Saturn'', was a different sound from that heard in the wildly popular ''Tragic Kingdom'', but it was more an evolution than any sort of sudden shift. But ''Rock Steady'' was a drastic change, so drastic that (for better or worse) it barely sounded like NoDoubt at all. Ska/punk had morphed into a pop/dance sound.
* American metal band Nonpoint has always been a very recognizable band, but each of their major studio albums feature a distinctly different sound. ''Statement'', their first album, features an aggressive NuMetal sound, with R&B-influenced vocal delivery and occasional rapped vocals. This was largely dropped on their second album ''Development'', which went towards a much more commercial AlternativeMetal direction very similar to {{Chevelle}}, which featured no trace of harsh vocals and very radio friendly melodies. ''Recoil'' was a much heavier album with very throaty vocals and crunchy distortion, even featuring some double-bass drumming moments. The album still maintained the catchy melodies from the previous album, though not as commercial. ''To the Pain'' essentially took the previous album and took it UpToEleven, with some songs featuring extremely harsh, lightning-fast vocal delivery, chugging riffs, and a very strong GrooveMetal sound. ''Vengeance'' was rawer and even ''more'' aggressive, though the vocals aren't quite as fast. ''Miracle'' is another slightly more commercial album, though nowhere near as radio friendly as ''Development''; it features less melody and harsher singing than the latter album.
* While {{Oasis}} roughly kept the same "Beatlesesque songs" style through their whole career, their albums from the third to fifth fall into this: ''Be Here Now'' focused on EpicRocking, ''Standing on the Shoulder of Giants'' was psychedelic and ''Heathen Chemistry'' had a crude sound.
* OfMontreal's "Hissing Fauna, Are You the Destroyer?" represented and, to a degree, chronicled their transition from quirky twee pop to bizarre neo-glam.
* TheOffspring became popular as a punk rock band with catchy upbeat songs. Their album ''Rise and Fall, Rage and Grace'' has only two songs in their signature style with the rest being slow and more thoughtful.
** There breakout album, 1994's ''Smash,'' is itself a NewSoundAlbum. Their previous two albums are much rougher hardcore punk, while ''Smash'' marked the debut of better hooks and a strong metal influence.
** To be fair, they often had slower, "more thoughtful" songs and interludes on almost all of their albums (except maybe ''Smash''), such as the GriefSong "Gone Away".
* UK thrash metal band Onslaught's album ''In Search of Sanity'' features a more melodic and complex style of thrash than the simpler, Slayer-esque sound they had on their previous release. It also featured vocalist Steve Grimmett from Grim Reaper, whose soaring and clean vocal style was a point of contention at the time of the album's release.
** On the topic of Onslaught, their first album was more of a thrash and hardcore punk hybrid than the full-on thrash they would play on their second album.
* Orbital's ''In Sides'' and ''The Altogether''.
* Cyrus' ex-co-star, EmilyOsment, used an adult alternative sound on her debut EP, ''All The Right Wrongs'', while ''Fight Or Flight'' is more techno/dubstep/dance-oriented.
* OwlCity, post-''Shooting Star''.
[[/folder]]

[[folder:Bands and Artists P-Z]]
* ProgressiveMetal band PainOfSalvation did this with every album, too. ''Entropia'' had a very eclectic prog-metal sound with a funk influence in some tracks. ''One Hour by the Concrete Lake'' was much more streamlined and had a slight industrial influence. ''The Perfect Element - Part 1'' was a softer, darker, and more complex effort. ''Remedy Lane'' was the same, but slightly heavier. ''BE'' was very experimental, featuring tracks in other genres away from metal or progressive rock. ''Scarsick'' was more commercial, even adding a bit of NuMetal in the sound. Both ''Road Salt'' albums are heavily influenced by 1970s prog-rock and hard rock, and are their softest work to date.
* Music/PanicAtTheDisco may stand as the only band to have changed their sound half way through an album, since their first album transitioned from emo influenced dance-punk, to vaudeville and musical theater inflected Music/{{emo}} influenced by danny elfman. They than completely changed their sound again on "Pretty.Odd." which switched to a 60's inspired psychedelic and folk pop sound with the modern production and lyrics of emo. This triggered a BrokenBase who still rage top this day. After the band split in two the band came back with "Vices and Virtues", which bizzarely enough returned them to the dark, synthesizer based, dance rock of their debut.
** ''Too Weird to Live, Too Rare to Die'' switched to a sound influenced by '80s {{Synthpop}} and NewWaveMusic as well as modern day R&B and electro-rock.
* Music/PearlJam moved towards more experimental waters starting with ''No Code'', and they eventually returned to head-on grunge/hard rock with either ''Riot Act'' or ''Pearl Jam'' (depends who you ask).
* {{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.
* After little success cranking out generic J-pop, {{Perfume}} brought on producer Yasutaka Nakata for their album "Game" as a last ditch attempt at popularity. The switch to a techno sound quickly turned them into one of the most successful groups in Japan's history.
* PetShopBoys albums are pretty consistent--almost entirely electronic and typically dance-pop or house-influenced beatfests with the occasional political snark, historical reference, or cultural observation. Then, out of left field, 2002's ''Release'': a guitar-based album full of sixties-ish pop (with [[TheSmiths Johnny Marr]] playing the guitar parts, no less), the occasional use of Autotune ([[JustifiedTrope mostly to simulate a phone line]], but fans still cried "they ruined Neil's voice!"), and slow, sincere ballads, with only two dance-oriented tracks. Critics tended to like it, but [[BrokenBase many fans hated it]] for being [[ThreeChordsAndTheTruth "too acoustic"]].
* {{Petra}}, the original ChristianRock 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.
* [[{{Pink}} P!nk]] has done this with pretty much every album.
** Mostly due to heavy ExecutiveMeddling in her first albums. The ones with her pink hair. Her first album was R&B/Hip-Hop, due to ExecutiveMeddling (P!nk was supposed to have fronted an R&B girl-group, but was then offered a solo deal). She fought for more creative control with her second album, deciding to sing music in her preferred style. Each album reflects the people she worked with closely during the writing process (Linda Perry on "Missundaztood", Tim Armstrong of {{Rancid}} on "Try This", Max Martin for much of "I'm Not Dead"). The albums are also pretty good reflections of different periods in her life ("Missundaztood" dealt with much of her childhood, "Funhouse" was written during the time she had separated from husband Carey Hart).
* Music/PinkFloyd. Listening to ''Piper at the Gates of Dawn'', then ''Music/TheDarkSideOfTheMoon'', then ''Music/TheWall'', then ''The Final Cut'', it's like four different bands ({{Justified|Trope}} for Piper, as their lead singer/songwriter became a CloudCuckoolander shortly after it was finished.)
** More like five if you take into account their experimental albums like ''Ummagumma'' and ''Atom Heart Mother''.
** However the transitions are so gradual that in many cases it's difficult to pinpoint ''exactly'' which one is the NewSoundAlbum. ''Music/TheDarkSideOfTheMoon'' 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.
** Where it is evident is usually when a major change occurs in the band. ''Animals'' sounds different from ''Wish You Were Here'' because Roger Waters took control of the band at that point, and ''Momentary Lapse of Reason'' sounds different from ''The Final Cut'' because Roger Waters left the band and David Gilmour took charge.
* ThePolice's first two albums were inspired by reggae and punk music (what they termed "Reggatta de Blanc" and indeed named their second album that) and involved a lot of Sting screaming over sped-up reggae riffs. Their third album, ''Zenyatta Mondatta'' slowed things down and largely abandoned the reggae elements, before the complete GenreShift took hold with ''Ghost in the Machine'' (apart from the hits, it was mostly funk-inspired) and ''Synchronicity'' (straight pop album).
* PorcupineTree definitely deserve this. The first album, ''On The Sunday Of Life'', was the musical equivalent of an acid-trip. The second album, ''Up the Downstair'', was more dance and trance-based whilst still retaining elements of being on drugs. The third album, ''The Sky Moves Sideways'', was a homage to Pink Floyd, whilst the fourth album, ''Signify'', was a more rock-oriented and faster-paced album than any of its previous friends, and introduced a very jazzy feeling, and ''Stupid Dream'', the fifth album, has been described as a pop album, as it's one of the most accessible albums by PT. ''Lightbulb Sun'' is the Tree's take on emo, being the break-up album, so filled with lots of sad lyrics, and the seventh album, ''In Absentia'', decides to further mess with your head by going progressive metal a lot of the time, whilst still retaining acoustic elements found in ''Lightbulb Sun'' and ''Stupid Dream''. Prog metal gave way to ambience for the next album, ''Deadwing'', which did keep some of the heavier moments from ''In Absentia''. ''Fear of a Blank Planet'' has been the heaviest album overall, following on from ''Deadwing'', and includes a 17 minute long epic rocking moment, which is also one of the heaviest pieces they've done, featuring some death-metal-esque drumming at points. ''The Incident'' blends together metal with ambience and acoustic guitars, as well as hints of industrial at times. It's fair to say, the only genre they've not attempted yet has been soul, but there's still time yet.
* Florida band Presence was a pretty standard NuMetal / RapMetal outfit. Their last album was a straightforward PostGrunge album with nary a rap on it. Out of nowhere.
* PrimalScream shifted their sound repeatedly throughout the 1990s, first moving from the indie jangle sound of their '80s albums to house rock with ''Screamadelica''. After a brief dip into a more traditional sound with the bluesy ''Give Out, But Don't Give Up'', the band closed out the decade with the dark, claustrophobic ''Vanishing Point'' and the angrily-political ''XTRMNTR''.
* After two albums of generic R&B, Music/{{Prince}} finally took the gloves off for ''Dirty Mind'', the album which codified his now-famous style of New Wave-funk-pop-rock with highly sexual lyrics. He has had several others over his career:
** ''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.
** ''Around the World in a Day'' dialed up the psychedelia.
** ''Sign o' the Times'' was made after The Revolution disbanded and emphasised stripped-down arrangements.
** ''The Black Album'' was pure funk but got cancelled - its replacement ''Lovesexy'' was more poppy.
** With ''Graffiti Bridge'', Prince bought new drum machines and sequencers but otherwise continued with ''Lovesexy''-style pop-funk-rock.
** ''Diamonds and Pearls'' saw him ditch the New Wave elements, reduce the pop/rock and switch more towards an urban/R&B-oriented style and heavily featured Tony M's clumsy rapping in an attempt to appeal to his supposedly dwindling black audience.
** After changing his name to the unpronounceable symbol, ''The Gold Experience'' dialled down the clumsy rapping and continued otherwise with the funk/R&B with some extra bits of pop and rock, a style he's pretty much stayed in ever since.
* Project Pitchfork appear to have jumped on the Aggrotech/Hellectro bandwagon with their more recent albums, although retaining aspects of their {{Darkwave}} past.
* While each of {{Music/Pulp}}'s albums progress from the last, ''His 'N' Hers'' shows a marked difference from their more introspective, artsy records of the 80s, and is generally considered a vast improvement. ''We Love Life'' could also be considered this to a lesser extent, as it sounds much more naturalistic and organic than the albums that preceded it.
* Music/{{Queen}} weren't exactly prog to start with, but were known for highly overdubbed vocal harmonies and guitar work. Starting with ''The Game'' they pushed the guitar to the background and focused more on the pop side of their personality instead of rock. This development went hand in hand with synthesizeritis and reduced songwriting quality, causing them to lose their popularity in America.
* Music/{{REM}} has a lot of these, especially the experimental ''New Adventures in Hi-Fi'. ''Monster'' to an extent too, as it introduced a louder, more grunge-influenced sound, coming after two popular albums emphasizing orchestration and acoustic guitars. Don't forget Up, the first album after Bill Berry's departure. It introduced drum machines and synthesizers to their sound.
* {{Radiohead}} - ''Kid A'', ''Amnesiac'', ''In Rainbows'' and ''The King of Limbs''.
** They reached extreme critical acclaim in 1997 with [[MagnumOpus 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.
** ...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.
** With 2007 came ''In Rainbows'', which was a much LighterAndSofter version of Radiohead (but just as Radiohead as it could be) and much more accessible than one could say about their previous work.
** 2011 would bring ''The King of Limbs'', which is way too hard to categorize as a whole.
* Music/TheRamones' pop experiment, the Phil Spector-produced ''End of the Century''.
* TheRasmus did this with the release of ''Dead Letters''. Possibly a case of ExecutiveMeddling, maybe just a bad change of direction whilst trying to BreakAmerica / 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.
* RedHotChiliPeppers had ''Blood Sugar Sex Magik'', abandoning heavy metal riffs for full-fledged funk rock. It proved to be their breakthrough album. To see how much they changed, listen to ''[[GreatestHitsAlbum Greatest Hits]]'' and compare "Higher Ground" (the only song from before ''BSSM''[[note]]because EMI, their previous label, licensed it in exchange for "Under the Bridge" in their compilation ''What Hits?!''[[/note]]) to the rest of the tracks. ''One Hot Minute'' (after guitarist John Frusciante departed) and ''Californication'' (when Frusciante returned) kinda count too.
* RelientK left their punk rock sound for more alt-rock with Mmhmm; segueing to alt-folk-ish for Five Score and Seven Years Ago. Their latest album, Forget and Not Slow Down, is a blend of all their genres.
* REOSpeedwagon was a hard rock band for the entire duration of TheSeventies, but transformed into pop with ''Hi Infidelity''. Although initially sucessful, this move caused the band to lose credibility and dissapeared off the radar after the 1980s.
* RhapsodyOfFire 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.
* After the disappointing sales of the jazzy, often times soul-influenced indietronica album ''Ruby Blue'', Roisin Murphy decided to completely overhaul her sound and image. The result was ''Overpowered'', a throwback to 1980s disco and synthpop that retains a few certain elements from ''Ruby Blue''. Unlike most eamples on here, it was actually critically acclaimed, but while it was a modest success in the UK, [[NoExportForYou it was never physically released in America]] (it ''did'' however pop up on the [=iTunes=] Store starting February 2012).
* Music/TheRollingStones shifted from their early R&B-based [[TheBritishInvasion British Invasion]] sound to a quirkier, [[TheKinks 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. 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, [[JustifiedTrope is the attitude the original reggae, funk and disco musicians had to begin with]].
* Hard to imagine this topic without a mention of Todd Rundgren, who was notorious for changing his style on a regular basis.
* {{Rush}} has many. The self-titled debut album (released prior to virtuoso drummer/lyricist Neil Peart joining the band) is pretty straightfoward 70s bar-band fare ala Bad Company. 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 straightfoward hard rock. However, with ''Caress of Steel'', the band started to move into prog territory, with very long multi-part epics. This remained until ''Permanent Waves'', which found the band abandoning the long epics and "wail" vocals in favor of a more accessable sound. ''Signals'' threw the band into synthesizeritis mode, which lasted throughout TheEighties, until ''Counterparts'', when the band shed the synths in favor of a grunge-influenced sound sound they've stuck with since. However, based on interviews and the two new preview tracks, their upcoming album ''Clockwork Angels'' may move the band back to prog.
** Some Rush fans have noticed that the album following an official LiveAlbum would be a NewSoundAlbum. They seem to have abandoned this since their 2003 return to regular recording and touring.
* SClub7 were known for a bubblegum pop sound on their debut album ''S Club''. Their second album ''7'' was similar though introduced a few R&B tracks. Their third album ''Sunshine'' was definitely this, marking a more mature direction for the group. The album's first single "Don't Stop Moving" is widely recognised as their best song ever. Their fourth album ''Seeing Double'' was almost completely dance and R&B influenced. Although it didn't sell as well as their previous albums, it received good reviews from critics.
* Asobi Seksu were criticized by some fans upon the release of their album ''Hush'' for changing their sound from shoe-gaze to a more [[DreamPop dream-poppy]] sound with less guitars.
* Music/{{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.
* The Shins' ''Wincing The Night Away'', which has a more contemporary indie-rock sound, as opposed to the faux 60's Britpop sound of their first two albums.
* With their second album, ''Season of Poison'' Shiny Toy Guns mostly abandoned their previous retro [=synthpop=][=/=]rock style and went for a DarkerAndEdgier emo sound, which had many fans clamoring that it was ruined. ''III'' returned to their roots.
* About half of Shudder to Think's discography consisted of these. For their first four albums they were primarily {{Post-Hardcore}}. Their 1994 album ''Pony Express Record'' combined their original sound with elements of MathRock and NoiseRock - interestingly, it was their major label debut but also the least commercial material they'd released up to that point.''50,000 B.C.'' then abandoned that sound almost entirely in favor of AlternativeRock and GlamRock... Though the album also included a re-recording of "Red House", a song from their PostHardcore era. Their last two albums were shifts in style in part due to being film soundtracks: ''First Love, Last Rites'' consisted of {{retraux}} pastiches of different styles popular in the sixties (which tied in with one of the main characters of the film being a collector of rare records), while ''High Art'' was a foray into trip-hop and {{Main/Ambient}} music. ''First Love, Last Rites'' and ''High Art'' are also notable for how rarely lead vocalist Craig Wedren is heard - the former primarily uses guest vocalists, the latter is mostly instrumental.
* A soundtrack example would be the ''SilentHill'' 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'. ''SilentHill2'' saw a much greater focus on music and acoustic tracks. The third game started the trend of tracks with vocals by Mary Elizabeth [=McGuinn=] 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 ''SilentHillDownpour'' is Daniel Licht, whose style is very different.
* Subversion: Chinese band Silver Ash had one single New Sound ''song'' in 2007. It was pop- a long way from their previous goth/glam rock style, and in the PV they were dressed casually- unsual, as they had up until then considered themselves China's first Visual Kei band. It seems the change was brought about, not because the band fancied a change, but because they had finally been forced to comply with the Chinese government, who had been making life very tough for them for years. However, after the release of this song, the band disappeared into the wilderness, and very little news has been heard of them since. There is a lot of speculation, but nobody really knows whether they are going to [[GenreShift continue with their new pop sound]] or are [[OutOfGenreExperience planning to return to rock and VK as best they can]]- under the assumption that they are returning at all, of course.
* {{Silverchair}} were a PostGrunge band for their first three albums, then ''Diorama'' had them change direction dramatically towards more of an art-rock sound with orchestral instrumentation. They had first started experimenting with string arrangements on ''Freak Show'' though, and ''Neon Ballroom'' could sort of be seen as a weird transition between their "old" and "new" sounds, as it had both softer, more contemplative songs ''and'' some of their most grunge-like material.
* Speculative: Paul Simon, with ''Graceland''. Wildly popular, but notable in history because of how much of a stylistic shift it was.
* Music/SimonAndGarfunkel's debut album (''Wednesday Morning, 3 AM'') had more of a traditional acoustic folk sound; the second album, Sound of Silence, was where they shifted to more of a rock instrumentation and approach.
* SisterMachineGun is an odd case in which every album can be considered to be a NewSoundAlbum. The only person who appears on every single release is the singer/songwriter and even during live concerts some songs are often performed differently than they were on the album they originate from.
** In the later years the shifts happened a bit less often, for example the 5th and 6th albums had [=EPs=] come after them that were each in the same style as the album they followed (for example the album ''6'' was followed by the [=EPs=] '6.1' and '6.2') but then the next album release would be another NewSoundAlbum.
* SkinnyPuppy, while still mainly {{Industrial}}, have more IDM influences on their latest two albums.
* {{Music/Slayer}} had two instances of this. First, there was 1988's ''South Of Heaven'', which sacrificed the blisteringly fast thrash metal of ''Reign In Blood'' for a slower, more groove-oriented style of metal. Two albums and a new drummer later, there was 1998's ''Diabolus In Musica'', which combined their signature thrash metal style with substantial NuMetal and IndustrialMetal influences. It also showed the band using mostly C# tuning rather than the Eb tuning they used on every previous album (sans their debut, which used standard tuning). Needless to say, this caused a very large [[BrokenBase fan backlash, with many accusing the band of selling out]]. Subsequent albums, perhaps in response to DIM's backlash, gradually toned down the "modern metal" influences, with 2009's ''World Painted Blood'' being an almost complete return to their classic style. The band has also returned to mostly Eb tuning.
* Michael W. Smith started out performing pop-rock, and some of his songs even crossed over into the mainstream. Then by ''I'll Lead You Home'', he's gone to strictly pop - abandoning the "rock" aspect of his genre. Since then, his music has taken on a more inspirational type of contemporary Christian music.
* When iconic rapper SnoopDogg changed his name to [[SuddenNameChange Snoop Lion]] and released a straightforward reggae album; if you didn't know better, you'd think they were two different people. However, it turns out that name is either just a moniker or only a one-time thing: he released a song for DreamWorks' ''WesternAnimation/{{Turbo}}'' under his original name.
* 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 ''MirrorsEdge'' soundtrack.
* Solarstone's ''Touchstone'' is still trance at heart, but includes more eclectic styles such as [=synthpop=], breaks, and D n' B.
* SonataArctica 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. [[BrokenBase 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 GrowingTheBeard.
* Christian Metal band Soul Embraced started as a fairly straight forward DeathMetal band. Their second album brought a bit of MelodicDeathMetal into the mix, but it didn't sound too different. Then came their third album ''Immune''. This album was a mix of death metal and NuMetal, for whatever reason. After that album, they changed their sound again for ''Dead Alive'', a ProgressiveMetal / Death Metal mix. Their next album Mythos is promised to be their most brutal, so we can only guess where it will be...
* {{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.
* SoundHorizon made a significant shift in musical stylings between ''Elysion'' and ''Roman'' - songs became longer, the primary genre shifted from BaroquePop to [[ProgressiveRock Symphonic-Progressive]], and a larger, rotating roster of vocalists (including the band's [[IAmTheBand 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.
* Music/{{Space}} did this with practically every album. ''Spiders'' was groove-heavy and influenced by Cypress Hill, with much use of drum loops and samples, and Tommy Scott doing what he called a 'Speedy Gonzales' voice. ''Tin Planet'' was much poppier, with most of the songs by Tommy, and a mixture of styles from Frank Sintra-esque crooning and disco to showtunes, straight up indie rock and techno. [[DevelopmentHell Lost album]] ''Love You More Than Football'' was even more so. Then Jamie Murphy left and the band got DarkerAndEdgier with ''Suburban Rock 'n' Roll'', which was musically more homogeneous, but had rougher production, synth bass and much slower-paced songs. When the band got back together, thanks to three new members joining, Space changed direction ''again'' with ''Attack Of The Mutant 50ft Kebab'', which was heavily influenced by ska, rockabilly and punk, with much faster songs.
* {{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.
* TheSpiceGirls released a third album, after Geri's departure titled ''Forever''. Their previous two albums had been pure bubblegum pop while ''Forever'' had a more R&B sound to it in an attempt to cultivate a maturer image. Reaction was incredibly mixed and it was the lowest selling Spice Girls album (though it did sell over 4 million copies worldwide).
* Parodied in the exhaustive fictional back-story of [[Film/ThisIsSpinalTap 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.
** [[BlatantLies Not to]] [[DontExplainTheJoke explain the joke or anything]], but this is of course a {{pastiche}} of several famous bands of the 60s and 70s, particularly Music/TheBeatles, PinkFloyd, and Music/LedZeppelin. ''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''.
* Rebecca St. James' first self-titled album was of a bouncy teen pop style. Then, for ''God'' (her second album), she has also decided to go with a harder rock decidedly {{Post-Grunge}} style (in the style of Alanis Morissette, no less). Oddly enough, she claims to have never listened to her secular counterpart while recording that album.
* {{Starflyer 59}} moved from their previous shoegazing-influenced guitar-heavy sound to a [=synthpop=]-influenced sound with keyboards starting with ''The Fashion Focus''.
* Music/StoneTemplePilots started as a 90s grunge band typical of the era, but switched to 60s/70s-inspired psychedelic rock with ''Tiny Music''.
* Music/{{Styx}} started as a hard rock band with prog influences. They abandoned the prog element relatively early on, and then went completely pop with ''Cornerstone''.
* Alan Vega initially produced proto-industrial avant-rock with the group Music/{{Suicide}} in TheSeventies, but in TheEighties, he switched to {{New Wave|Music}}, then went back down the DarkerAndEdgier path to {{Industrial}}.
* Summoning went through a pretty dramatic change in ''Let Mortal Heroes Sing Your Fame'' (and subsequent albums), switching from black metal to a much more relaxed, epic style.
* TaylorSwift's self-titled debut album was firmly rooted in country music. While she had been gradually moving in a more pop direction since then, her fourth album, ''Red'', definitely qualifies as this, featuring an eclectic mix of genres ranging from electronic pop and even ''dubstep'' to straight up rock. Many reviewers noted this shift as a sign that the former teen superstar was officially an adult now.
* TalkTalk started out as a {{New Wave|Music}} band that already experimented with their sound as soon as during production of the second album. By the fourth one - titled ''Spirit of Eden'' - they may have became a UrExample of PostRock.
* Music/TalkingHeads had a few; ''Remain In Light'' was filled with repetitious, dense African rhythms that sounded way different from their previous albums (Although it was hinted on in "I Zimbra" from Fear of Music). Three years later, they had ''Speaking in Tongues'' which was a more funky, synth-poppy album. Two years after, ''Little Creatures'' had more Latin influences, with some Americana which their next and final two albums both took inspiration from.
* [[Music/{{tatu}} t.A.T.u.]] did this. ''Twice''. Their sophomore album ''Dangerous And Moving'' was considered by some as the BaseBreaker album. However, some of the fans consider said album as their favorite. This led to them having different sets of fans. Some only like the first album, some only like the second album, some only like the third album, etc.
* Music/SteveTaylor released the bulk of his albums in the mid-eighties, full of synthesizers and eighties sensibilities. During the break between ''I Predict 1990'' and ''Squint'', not only did he spend time working with a whole different band, but grunge happened. The result is ''Squint'', perhaps his finest album ever. And his last.
* Music/TheyMightBeGiants moved up from "Two guys, an accordion, a guitar and a drum machine" to a full band for their fifth album, ''John Henry''.
* Metalcore band In This Moment went for a less heavy sound in their second album ''The Dream'', diitching most of the growling vocals and {{Metal Scream}}s after vocalist Maria Brink expressed a desire to challenge herself with more clean-vocals songs.
* Christian alternative metal band ThousandFootKrutch did this with ''every single album''. Their first album was essentially rap-metal with a couple of pop-punk songs thrown in. Their second album was pretty straightforward nu metal. Their third album was soft alt-rock/alt-metal with little screaming and only a few heavier songs. Their fourth album was more traditional alt-rock mixed with post-grunge and heavy metal. Their fifth release is mostly heavy metal with some heavier alt-metal and some slower rock tracks of a much different quality than their others, and the album is the band's heaviest to date. ''The End Is Where We Begin'' is essentially a mix of everything, even the rapping.
* {{TNT}} evolved from straightforward metal on their self titled album and ''Knights of The New Thunder'', to somewhat of a fusion of HairMetal and HardRock 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 BrokenBase.
* Trentemoller was originally minimal dance / glitch house / neo trance, but he seems to have mostly abandoned dance beats for his second album, ''Into the Great Wide Yonder''.
* Indie band TV on the Radio had a more organic, experimental post-punk sound on their album ''Return to Cookie Mountain'', which was a critical darling. Following that one was ''Dear Science'', which has a more electric sound and is more accessible in general. That one was rather well-liked as well.
* Music/{{U2}} evolved from post-punk on ''Boy'' to a more straightforward rock sound by ''War'', then they looked into blues and country for ''The Joshua Tree'' and ''Rattle and Hum''. With ''Achtung Baby'', they had a complete GenreShift to a more modern alternative rock sound and added more electronics, eventually culminating in the ambient concept album ''Original Soundtracks 1'' (released under the pseudonym Passengers) and the largely electronic ''Pop''. After that, they went back to a more ''Joshua Tree'' style sound with ''All That You Can't Leave Behind''. ''No Line on the Horizon'' manages to combine just about everything from the rest of their career, with ''Joshua Tree'' anthems and ''Achtung'' rockers right next to Passengers-style ambient pieces on the track listing.
* British reggae band Music/{{UB40}} started off with a reverb-y, dub-influenced sound and very political lyrics. Their fourth LP, the CoverAlbum ''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.
* UrgeOverkill started as a crappy noise-rock band ripping off The Jesus Lizard, Big Black and other contemporary Chicago bands. With ''Americruiser'' they hit upon their style, a combination of punk, power pop and arena rock. They never looked back and continued perfecting the formula until they struck the jackpot with ''Saturation''.
* ''5150'' by Music/VanHalen. After 6 albums defined mostly by the combination of Eddie Van Halen's guitar wizardry and Music/DavidLeeRoth's comic persona, Roth left the band. He was replaced with Sammy Hagar, Eddie started including more and more synths, and their songs became poppier. Cue BrokenBase, which endures to this day despite Roth having returned.
** Also the largely forgotten ''Balance'' album, Van Halen's rather misguided attempt at grunge.
* If you listen to the TheVelvetUnderground'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
* TheVeronicas going from typical princess pop rock to synthetic pop with a classical edge on their second album. Acoustic pop rock in their debut, eletronic classic elemental 80's pop in their second album and RNB sampled rock pop in their third.
* With ''A Northern Soul'', TheVerve changed their orientation from their previous spacey psychedelic rock to alternative rock. They continued with this style on ''Urban Hymns''.
* Music/VillagePeople (''The Renaissance Album'')
* It's hard to tell exactly ''what'' TomWaits became after ''swordfishtrombones'', but it's nothing like what he was before. And it made him a legend.
* Music/{{Ween}} seems to like to change it up quite a bit.
** One might say they've had new sounds on every song on many albums. Compare [[http://www.youtube.com/watch?v=T6QjWZujAls this]] to [[http://www.youtube.com/watch?v=tsBgJovpbBo this]]. the fact that even Gener's vocals change a lot helps. ([[http://www.youtube.com/watch?v=Y--KHIey-xo this]] and [[http://www.youtube.com/watch?v=UpywOFiDqbY this]] are sung by the same guy.)
** In fact, the interesting thing about Ween is that they're typically so all over the place that ''12 Golden Country Greats'' is ''not'' a New Sound Album because it's all country music, but because it's all one genre at all.
* Music/KanyeWest pulls this with every album; although all of them stick to his signature style of mixing AlternativeRap and GlamRap they all do it in a different way.
** His first album ''The College Dropout'' relied more on old, sped up, soul samples
** ''Late Registration'' had more of a jazz and BaroquePop influence, as well lush instrumental backgrounds
** ''Graduation'' mixed in elements of pop, HardRock, and house music to create a more poppy anthemic sound,
** ''808s & Heartbreak'' was the most drastic shift since it wasn't even hip hop, instead it is an almost unclassifiable mix of [=synthpop=], {{R&B}}, experimental minimalism, and pop music with auto-tuned singing to intentionally create a cold, robotic feel that reinforces the depressive themes of the album.
** He than took all of those styles and mishmashed them all into one glorious package along with elements of modern indie rock and PopRevival to create what is considered his MagnumOpus ''MyBeautifulDarkTwistedFantasy''. Which is now considered one of the greatest alternative hip hop/pop albums of all time.
** He pulled it again with ''Cruel Summer'', which pushed his music more towards the GlamRap side of his music, in addition to TrapMusic, although it still has alot of progressive elements tha keep it unique.
** ''Yeezus'' is proably his [[DarkerAndEdgier Darkest]] album yet. Lyrically, it contiunes on the GlamRap path set by ''Cruel Summer'' and ''Watch the Throne'' while throwing in the occasional political tune. Musically, its a [[NeoclassicalPunkZydecoRockabilly smorgasbord of genres]], combining Trap and Dancehall with elements of Acid House, Dark Ambient, Punk Rock, Industrial Hip Hop, Dubstep, and Glitch. All of this in 40 minutes.
* TheWho changed sound very frequently. Their debut album ''My Generation'' is blues-rock, similar to to what Music/TheRollingStones 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.
* {{XTC}} started out as a hyperactive {{New Wave|Music}} band with punk, reggae and funk influences. These were mostly dropped after the departure of Barry Andrews and arrival of Dave Gregory, which steered them towards a more complex sound inspired by 60's pop on ''Drums and Wires'' (though still definitely {{New Wave|Music}}). When the band stopped performing live, they produced the gentle pastoral folk rock album ''Mummer'', and expanded on this sound - by their MagnumOpus ''Skylarking'', they had evolved into full-on 60's-inspired pop rock with psychedelic, folk rock and baroque pop elements.
* Parodied in Music/WeirdAlYankovic's mockumentary "The Compleat Al", where it was suggested that after a few albums of comedy music, he became deeply introspective and wrote/recorded an album ("Me, Myself, and I") of a rather different, serious tone. Unfortunately, the story goes, the master tapes were accidentally erased by an airport metal detector, and the world would never know Al's new sound.
** This was possibly influenced by Rolling Stone's completely false 1969 article about the supposed lost Beatles album ''Hot As Sun,'' which was wiped from existence in the same manner.
* YeahYeahYeahs practically went alternative dance with "It's Blitz!", an album that still sounds like them (largely because of Karen O's unmistakable voice) but is vastly different than "Show Your Bones", and DEFINITELY different than "Fever To Tell".
* ''90125'' by Music/{{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 OldGuardVersusNewBlood, 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 spinoff project (named "Cinema"), until Yes vocalist Jon Anderson liked the sound of the demos and decided to make it a Yes album.
** ''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 1980s) years before ''90125''. Some critics, like Jeremy Parish of GameSpite, 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.
* Internet Glitchgrind band Zombie Sneak Attack had two of these, after seven albums of what even the band themselves describes as "unbelievably horrible noises" they released ''Psychotropic Seminiferous Tubules'', a broadly sweeping concept album complete with narration and bits that can almost be described as music. They returned to their signature sound with ''A New Kind of Unlistenable'' and then put out ''Handsniffer'', an ambient soundscape style album that sounds like the soundtrack to an avant-garde horror film, oddly punctuated with voice samples from cartoons such as ''The Simpsons'' and ''South Park''.
* 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 thats not to say that any of their music is any less potent.
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