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  • Within the dubstep fandom, fans of the more bass-driven, minimalistic sounds of Burial or Skream and fans of the more aggressive "Brostep" such as Flux Pavilion or Rusko get into flame wars that you wouldn't believe. There is no middle ground.
  • AFI seem to have a solid divide between fans of their hardcore punk period of 1994-2000 and their goth-influenced works from 2003 on, with rather ugly flamewars raging to this day. Neither side seems to like Crash Love much, however.
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  • This happened to the British indie band The Horrors. The songs on their first album and their singles were fast, short bursts of goth-influenced garage punk often not lasting more than two minutes. Then in early 2009 came the video for "Sea Within A Sea", the first single from their second album. It was slower, more atmospheric and Joy Division-sounding and most troubling to fans, eight minutes long. Some fans cried bloody murder. Other fans welcomed the new sound with open arms and praised their new tighter sound. Needless to say, any forum discussing the band has degraded down to two dozen active flame wars about the subject between the two sides.
  • In Flames' older albums are often praised for being melodic death metal masterpieces, but when they changed their sound in 2002 with Reroute to Remain it caused a bitter flame war between "old" and "new" In Flames fans that still hasn't ceased; if you look on a comments section involving In Flames anywhere, it's very likely there'll be a debate (or flamewar) over new vs. old In Flames.
  • Very common in the fandoms of the so-called “Emo Trinity,” three rock bands that gained popularity in the mid-2000s.
    • Fall Out Boy has been experiencing this for more than a decade. While they have always been willing to experiment with pop sounds (ever since Infinity on High in 2006), their releases post-hiatus have taken this Up to Eleven, especially American Beauty/American Psycho and MANIA. The lead single on every new album nowadays is an introduction to whatever sound they’re trying out, and they always invoke a passionate and polarized response from the fandom.
    • Panic! at the Disco's first two albums are a notable example in that the creative difference the fandom broke over quite literally broke up the band itself. A Fever You Can’t Sweat Out has complicated, baroque instrumentations with a dance-pop sound, with Ryan Ross’s verbose lyrics. Pretty. Odd. takes a lot of inspiration from Sgt. Pepper's Lonely Hearts Club Band-era Beatles and folk rock. After Pretty. Odd.’s release, Ryan Ross and Jon Walker departed and formed The Young Veins, a band very similar in style to Pretty. Odd.-era Panic, while Brendon Urie and Spencer Smith went back to a pop-punk sound with Vices & Virtues.
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    • My Chemical Romance’s base is pretty toxic and broken in just about every respect, but let’s focus on the music. Their first two albums (I Brought You My Bullets, You Brought Me Your Love and Three Cheers for Sweet Revenge) are rougher, louder, and much more Hardcore Punk and Post-Hardcore. The Black Parade is a theatrical, operatic concept album influenced by 70s progressive and glam rock, while Danger Days: The True Lives of the Fabulous Killjoys is another concept album with a garage rock and dance-rock vibe. Some fans prefer the harder-edged sound of the first two albums, and you’ll find arguments in the fandom about which one is the best even now, 5 years after MCR’s disbandment.
    • Within the past year, the “Emo Trinity” has expanded to include Twenty One Pilots. Their major-label debut Vessel (2013) is widely considered their best album and 2015’s Blurryface was a huge, Grammy-winning pop success. Most fans agree they are excellent albums in their own right, but some miss the less polished production and less poppy sound of their self-titled album and Regional at Best, both of which were self-released.