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Norwegian veterans Enslaved have just confirmed the details of their new album, Mið, which drops on October 30th, 2026 via Nuclear Blast Records. To promote it, the band just released the new song ”Solar Will” and a video directed and recorded by long term collaborators KolibriMedia.
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Norwegian prog metal figureheads Enslaved have announced that they will release their latest album, Mið, through Nuclear Blast Records on October 30. The band have also shared a video for their new single, Solar Will, which features a guest appearance from Sami musician Johan Sara Jr.

Mið is an Old Norse word for ‘centre’, or ‘middle’, and is an album that sheds light on harmonies and dialogues embedded all around us: between the ways of the past, and how they can bring enlightenment to the present

“There have been sun cults as long as Magic Man has been around (at least),” explains guitarist and founding member Ivar Bjørnson. “The Sun is a nurturing and terrifying parent that can grant as well as obliterate life totally. Such a classic and awe-inspiring object of our worship and myths requires classic and awesome riffs, Bonham-esque drum grooves and blistering melodic flares celebrating its horrific glory. This is what that sounds like to me: Solar Will!”

“Solar Will explores archetypal conflicts, those that manifest in nature, the cosmos, mythology, and, above all, within the human mind,” adds bassist, vocalist and fellow founding member Grutle Kjellson. “In this instance, the central struggle is expressed through one of the enduring rivalries found in Norse mythology, embodied by two important, though often somewhat overlooked, figures within the pantheon. Readers familiar with the Norse mythological tradition will likely recognise the identities rather instantly, yet I shall refrain from naming them, allowing each reader the opportunity to engage with and decipher the lyrics on their own.

“After all, perhaps this is one of the essential functions of lyric writing: to invite interpretation and cultivate a sense of wonder? The conclusion, or more precisely, the absence of one, suggests that, for human beings, chaos and dreams are at least as significant as the realities we perceive through our senses. Ultimately, the work advocates not for resolution, but for the acceptance, assimilation, and shaping of these often contradictory forces.”

Mið is available as a CD jewelcase, a CD digipack (with bonus track and sticker) and as a gatefold vinyl LP(black, transparent blue, arctic blue pearl, blue/white/dark green/black marbled). You can see the new artwork and tracklisting below.

Pre-order Mið.

Enslaved: Mið
1. Non-Being
2. I Am Ice (featuring Johan Sara Jr)
3. Solar Will
4. Mountain
5. Spirit Helper (featuring Kevin Kicking Woman)
6. Parting
7. Tales of Trees
8. I Miðju

The pop/R&B group Color Me Badd formed in Oklahoma City in 1985. In the early ’90s, the group scored a few major hits, including “I Wanna Sex You Up,” “I Adore Mi Amor,” and “All 4 Love.” Since their success faded, Color Me Badd have had a tumultuous history, with original members coming and going as they play the nostalgia circuit. The only original member in the current Color Me Badd lineup is Mark Calderon. Another original member, Kevin Thornton, originally left Color Me Badd in 1998 to become a minister in Fort Worth, Texas, though he made a couple of temporary returns in later years. Now, the current version of Color Me Badd has issued a statement about Thornton after his estranged daughter accused him of running a violently strict and “cult-like” household.

The post Color Me Badd Distance Themselves From Co-Founder Accused Of Abuse By Estranged Daughter appeared first on Stereogum.

Australian psychedelic/stoner ensemble Khan is excited to announce ‘That Fair And Warlike Form European Tour’, scheduled to bexecuted in September and October. Joining them on this 18-date trek will be fellow countrymen Skin Thief.
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90s rock songs never go out of fashion. Over thirty years on from Nirvana’s trilogy of teenage wasteland records, many top rock bands of the 1990s still hold the apathetic youth of today spellbound; their basement vibe empowering a deep-set love for real, band-written music, distinctly removed from the soulless songwriting process behind vast swathes of commercial hits.

Our collective memory of 90s rock bands might be nostalgia-fueled, rose-tinted, and all that jazz. However, looking back, this legendary era is entangled with some of the last authentic rock groups to hit the top spots on the music charts consistently.

From Brit-pop wonders to US anti-heroes, our list collects the top 18 rock bands of the 1990s, in no particular order, each as influential upon the future of rock as the last.

1. Nirvana

Nirvana’s three-piece discography signaled a 180-degree turn from the 1980s pop/rock scene. Abandoning the new wave synth sound adopted by a host of late-80s rock bands, Nirvana crawled back to the roots of rock music, their sound an embodiment of hopeless youth, general disinterest, and soft-form anarchy against the clean-cut norm.

Doubtlessly one of the most influential early 90s rock bands to have surfaced, each of Nirvana’s records is a through-and-through hit in its own right. Not only is the Nevermind album cover seared into every alternative kid’s mind, but tracks like Smells Like Teen Spirit are dangerously overplayed to the ironic extent that Nirvana’s modern radio audience is almost as jaded to their music as the band was to the world. But despite the inescapable nature of their hits, Nirvana remains an icon of the rock scene, trailblazing a movement that would soon come to define 90s rock music: grunge.

2. Oasis

Oasis found equal levels of fame and hatred with their apathetic take on rock ‘n’ roll, a musical aura of general distaste and disillusionment that filled the vacant space left after Kurt Cobain’s death in 1993.

Oasis likely never intended to carry forth the torch Nirvana ignited. Still, their 1994 debut album, Definitely Maybe, released only a year after Nirvana’s closure, filled the youth’s void of chart-topping punk ideals, reincarnating that grungy, 90s flavor of carelessness every mopey teenager craves.

Despite their gradual degradation through the early 2000s, Oasis’ first two records were game-changers, marking a revolt against synthetic pop and a return to a Beatles-style songwriting process. With nonsense lyrics, simple chords, and a frontman who thought he was the new John Lennon, Oasis’ music rattled as many as it rocked, yet their tapestry of 90s rock hits (including Rock N Roll Star, Live Forever, Wonderwall, and Don’t Look Back In Anger) make them one of the most quintessential and cherished of all British 90s rock bands.

3. Smashing Pumpkins

Smashing Pumpkins’ first album Gish, was released in 1991, followed up by three Top 10 records later that same decade. With a collection of charting singles in the US and UK, Smashing Pumpkins designed a style that cherry-picks the best of alternative music, making them one of the most instantly memorable and famous 90s rock bands.

This band defined punk rock as the century came to a close whilst ripping apart its foundations in the process. Streamlining soft psychedelia into their grunge-tinted basis of indie rock ‘n’ roll, Smashing Pumpkins’ rawness resounds with a fresh air of anarchy, topped by an odd, warm comfort as their sound backtracks through varied influences of prior decades.

4. The Offspring

While Smashing Pumpkins was one of the most successful rock bands of the decade, The Offspring took the crown as one of the 1990s’ most successful punk bands. Threading songs with a fearlessly feel-good disdain, this band was met with shocking levels of commercial acceptance for an inherently anti-commercial punk band, hitting #1 on the charts with Pretty Fly (For A White Guy) in 1999, and #2 with follow-up single Why Don’t You Get A Job.

Of all the late 90s rock bands to sear their name into the scene, The Offspring’s early music stays fresh even 30 years on, fuelled by simple, cut-throat tones and the sense of a party-turned-riot, slitting through musical over-saturation with compelling authenticity.

5. Green Day

The 1990s was an iconic era for Green Day, a staple punk trio that pushed the genre through the early decade and up to the present day.

Debuting in 1990 with 39/Smooth, the 1990s saw the release of Kerplunk, Nimrod, Insomniac, and one of the band’s all-time greatest albums, Dookie — bearer of Green Day’s first #1 single on the US Alternative charts: Basket Case, often listed as one of the best ‘90s rock songs to ever reach release.

Green Day’s early sound runs fresh with themes of grunge, punk, and misery; so fresh in fact that the band has been chasing the allure of their original sound ever since. They might be best known for their 2004 rock opera album, American Idiot, but Dookie earns Green Day a spot on our list, capturing the 90s in a nutshell whilst resounding with just as much relevance today.

6. Blink 182

One of the biggest pop-punk bands of all time, Blink 182, shot to fame in the late 90s; their tongue-in-cheek tracks are half-comic, half-profound, and thundering with all-too-relatable teen themes. Aside from creating one of the most iconic album covers of their genre (1999’s Enema Of The State), Blink achieved their status amongst the ‘90s greats for designing a sound so influential that swathes of post-2000 pop-punk bands continue to cite them as a musical influence.

7. Pearl Jam

Formed in 1990, Pearl Jam held an undeniable command over the coming decade of rock. Scoring three US #1 albums in a row with 1993’s Vs., 1994’s Vitalogy, and 1996’s No Code, Pearl Jam broke fearlessly into the mainstream consciousness, treading the muddied grounds of hard rock-meets-grunge and shaping the genre as we know it today.

Following the band’s biggest hit singles, Even Flow, and Alive, Pearl Jam found equal levels of respect and notoriety for tracks such as Jeremy, working obscure political sentiments into their music and videos (or artistic lack of) whilst giving voice to the ideals of their underdog generation; true grunge style.

8. Metallica

Metallica’s golden age struck like lightning through the 1980s metal scene, but it was their 1991 album, the self-titled Metallica, which seared their name into the mainstream rock world, bestowing an immovable title of greatness, no matter how far the band fell post-90s.

Held by many as the last A-grade album of Metallica’s discography, the colloquially titled Black Album hit #1 in nine countries, led by its storm-clouded first single, Enter Sandman — which possesses one of the most recognizable rock riffs of the decade. Followed by 1996’s Load and 1997’s Reload, the 90s saw through the striking change from Metallica’s early thrash era to their later heavy metal sound, an evolution built on a foundation of alternative hits, each seeding their legacy deeper amongst the most popular 90s rock bands.

9. Radiohead

Back in the realms of indie rock, Radiohead took the alt world by storm with their ‘92 debut single, Creep, a British extension of the US grunge phenomenon. Often named amongst classic 90s rock bands such as Oasis, Radiohead’s peculiar exploration of sound separated them from the common batch.

With hectic atmospheres spotlighting a sharp balance of futurism, prog-pop, and old-school rock, Radiohead drew inspiration from across the spectrum of music, from frontman Thom Yorke’s teen idolisation of Neil Young to their subtle entanglement of Chopin melodies within their tracks (just listen to Radiohead’s ‘97 album track Exit Music For A Film next to Chopin’s Prelude #4).

10. Deftones

Deftones’ debut release hit the record stores in 1995; their metal-flushed music was a distinct switch-up from the grunge aesthetic, yet truly rock in its own right. The band’s ground-breaking interpretation implants a melodic twist deep within the crushing distortions of heavy metal, wedding pop beauty, rock sleaze, metal brutality, and flairs of indie through each of their 90s records.

Vocalist Chino Moreno described Deftones’ irreplicable sound in his 2020 interview with NME: “That yin and yang of what we’ve always done makes us who we are. We’ve never just been a metal band, we’ve never just been an alternative band, we’ve always just been us. We feel comfortable in never having to choose.”

While some of Deftone’s biggest hits were captured on their 2000s releases, their two 90s albums, Adrenaline and Around The Fur, formed a solid basis for the band to evolve their untamable tincture, with an abrasive sound that stood out from the crowd from the start.

11. The Verve

The Verve found ‘90s stardom with Bittersweet Symphony — the iconic Brit-pop track with pure-grunge attitude: “’Cause it’s a bittersweet symphony, that’s life, tryna make ends meet, you’re a slave to money then you die.”

Their ‘97 album, Urban Hymns, shot to #1 in the UK charts, reigniting the power of psychedelia, progressive rock, and stoner music in the UK scene, a kaleidoscopic mirror of what was going down overseas in the US. This record remains in the top 20 highest-selling albums of all time in the UK, a testament to The Verve’s spellbinding authenticity during an era over-saturated with disenchantment.

12. Slowdive

Slowdive has always perched on the obscurer side of fame but remains an acclaimed 90s rock artist in their downtempo niche. Hailing from Reading, England, Slowdive was a pioneering band of the reverb-drowned ‘90s shoegaze movement — a melancholic and wistfully dismal strain of dream pop.

Formed from a synthesis of pedals and threads of Cure-like new wave, Slowdive’s early ‘90s records were met with their fair share of disappointing reviews for their sound’s opposition to the all-consuming grunge rock scene. But this initial ‘90s trilogy — Just For A Day, Souvlaki, and Pygmalion — paints the first signs of life upon their genre’s canvas, a hypnotic basis for shoegaze to mutate and thrive in its underground dwelling.

13. My Bloody Valentine

One of these shoegaze mutations is My Bloody Valentine — a four-piece who rose alongside Slowdive as pioneers of the UK’s new subgenre of rock. Of their three sporadic releases between 1988 and 2013, it’s their 1991 album, Loveless, which is crowned time and again as the band’s best work.

90s rock bands with female singers may seem few and far between, but My Bloody Valentine breaks the mould, just like Slowdive; an ethereal take on alternative rock far-removed from the dominating grunge sound of the ‘90s, yet capturing the same disenchantment down treading the decade’s youth.

14. Red Hot Chili Peppers

The Chili Peppers have been releasing records since the early ‘80s, but it’s their ‘90s collection which stands out from their 13-album-long discography. Heralded as the band’s unequivocal high-point, this decade saw the release of 1991’s Blood Sex Sugar Magik, 1995’s One Hot Minute, and 1999’s Californication (the first and last of which are often credited as the best records ever released by the band), supported by a tapestry of hit singles such as Give It Away, Under The Bridge and Around The World.

Their sound flip-flopping from psychedelic funk to alternative rap rock, the band’s legendary bassist, Flea, revealed the vibrant inspiration behind the band’s sound in his 1998 interview with Bass Frontiers: “I think without passion it’s ridiculous to play. For me, if you don’t play with your heart, you have nothing to say, and if you have nothing to say, you should shut up […] I’m always listening, and I’m always open minded.  I’m always looking for something beautiful, whether it’s music or otherwise.” It’s attitudes like this that make bands legendary and make Red Hot Chili Peppers one of the most respected, far-reaching, and best rock bands of their era

15. Pantera

After releasing a series of albums between 1983-1988, Pantera’s greatest commercial success spawned from their 1990 record, Cowboys From Hell — a title as infamous as the band’s relentless sound. This decade saw Pantera refine their direction from glam to groove metal, maturing in time with the scene around them yet constantly staying on top of their game.

Pantera shone a darker shade over the alternative scene; combating the power chord wave with a fearless exploration of musical technicality, making them stand out from their surrounding 90s rock artists, even to this day.

16. Cradle Of Filth

We admit Cradle of Filth is far more metal than rock, but with the extreme forces of Gothicism and deep-set controversy closely on their tails, this band’s early records highlight the ‘90s rock scene’s affiliation with the Satanic Panic and with breathtaking style.

From the sour taste of the band’s iconic ‘90s “Jesus Is A C***” t-shirt to the black metal terror underlying their earliest albums, Cradle Of Filth soaks each track in shock factor, devilish enchantment, and poetic perceptions of mythology. Their initial spiderweb of records, from 1994’s The Principle of Evil Made Flesh to 2000’s Midian, is the inarguable high-point of the band, distinct from their later downfall and showcasing the mystifying horror of Dani Filth’s vocals at their utmost best.

17. Nine Inch Nails

With a steady stream of releases between 1989 and 2020, Nine Inch Nails’ all-time greatest record is undoubtedly 1994’s The Downward Spiral — a relentless album of bedlam and subtlety, encircling a disturbing concept of self-destruction.

Despite their industrial snowstorm of sound, NIN found shocking levels of commercial success with this release, bringing together the mainstream rock world and the cavernous obscurities of industrial metal into one indomitable force. The Downward Spiral lives on for daring to break the mold of 90s rock music, a harrowing musical adventure undercut with profound messages and themes as bleakly relatable as their peers.

18. Slipknot

Slipknot might not fit perfectly into a ‘rock band’ list, but the nu-metal nine-piece’s debut record — the self-titled 1999 Slipknot — ended the decade with chaos unbeknownst to the alternative community. Their first two albums forming the original, corrupted soul of the band, we’ll let Slipknot edge onto our list for creating one of the most manic rock records of our generation, debuting a sound that evolved like a Lovecraftian monster, transfixing the scene from their first spread of ‘99 singles, and steering the sonic aesthetics of the mainstream alternative into the wilderness of the new, 21st century.

19. Weezer

Weezer’s 1994 self-titled debut, the Blue Album, wrapped nerdy heartbreak and self-deprecation in fuzzed-out power chords, turning teenage awkwardness into an entire aesthetic. Songs like Buddy Holly and Say It Ain’t So sat comfortably next to grunge’s angst on the radio while sounding nothing like it, catchy where Nirvana was raw and disaffected.

Their 1996 follow-up, Pinkerton, flopped commercially on release, dismissed as an uncomfortable overshare, only to be reassessed years later as one of the decade’s most influential records, a blueprint for the emo scene that followed in its wake.

Weezer’s brand of geek rock proved that vulnerability, thick glasses, and a Moog synthesizer could hold their own against a decade otherwise dominated by flannel and distortion pedals.

20. Rage Against the Machine

Rage Against the Machine fused Zack de la Rocha’s incendiary political lyrics with Tom Morello’s guitar, an instrument he bent, scratched, and reprogrammed until it sounded more like a turntable than a rock axe. Their 1992 self-titled debut, powered by Killing in the Name, landed like a grenade in the middle of the grunge era, proof that rage could groove as hard as it screamed.

Rather than retreating into apathy like much of their 90s peers, Rage Against the Machine’s music demanded action, threading Marxist theory and anti-establishment fury through riffs heavy enough to fill arenas.

Their influence on rap-metal and the broader landscape of politically charged rock still runs deep, a reminder that 90s rock could be a fist in the air as easily as a shrug of the shoulders.

The post The 20 Greatest Rock Bands of the 1990s, Ranked appeared first on Metal Shout.

Jon Bon Jovi says he was "appalled" when he saw the original cover. Continue reading…

Enslaved Announce New Studio Album ‘MIÐ’

Progressive trailblazers Enslaved have officially announced their forthcoming studio album, Mið, set for release on October 30 via Nuclear Blast Records. Throughout their 35 year journey, across 17 albums, the Norwegian vanguard have continually redefined the boundaries of progressive black metal, weaving Old Norse histories and sacred traditions into complex modern soundscapes. With their latest offering, Enslaved turn their gaze toward the fundamental concept of the axis: the middle, the origin, and the infinite reach of the present moment.

Alongside this news, the band have unveiled the transcendant new single ‘Solar Will‘, both a paean to a divine spark, and a testament to the album title’s fundamental concept: a centre whose reach is infinite. It’s accompanying video was created by Kolibri Media, long term partners of Enslaved based in Bergen.

Guitarist Ivar Bjørnson stated:

“There have been sun cults as long as Magic Man has been around (at least). The Sun is a nurturing and terrifying parent that can grant as well as obliterate life totally. Such a classic and awe-inspiring object of our worship and myths requires classic and awesome riffs, Bonham-esque drum grooves and blistering melodic flares celebrating its horrific glory. This is what that sounds like to me: “Solar Will”!”

Voicalist / bassist Grutle Kjellson adds:

“Solar Will explores archetypal conflicts, those that manifest in nature, the cosmos, mythology, and, above all, within the human mind. In this instance, the central struggle is expressed through one of the enduring rivalries found in Norse mythology, embodied by two important, though often somewhat overlooked, figures within the pantheon. Readers familiar with the Norse mythological tradition will likely recognize the identities rather instantly, yet I shall refrain from naming them, allowing each reader the opportunity to engage with and decipher the lyrics on their own. After all, perhaps this is one of the essential functions of lyric writing: to invite interpretation and cultivate a sense of wonder? The conclusion, or more precisely, the absence of one, suggests that, for human beings, chaos and dreams are at least as significant as the realities we perceive through our senses. Ultimately, the work advocates not for resolution, but for the acceptance, assimilation, and shaping of these often contradictory forces.”

Mið – Tracklisting

1.  Non-Being
2.  I Am Ice (featuring Johan Sara Jr)
3.  Solar Will
4.  Mountain
5.  Spirit Helper (featuring Kevin Kicking Woman)
6.  Parting
7.  Tales of Trees
8.  I Miðju

Never faltering, Norway’s iconic Enslaved continue to exist as one of the most original and dependable components in our scene’s indestructible backbone. Possessing the reputation as one of the most riveting live acts around, they never fail to offer us talent of the highest calibre, always doing justice to their signature black/progressive sound. Enslaved was formed in 1991 by Ivar Bjørnson and Grutle Kjellson, releasing their first demo Yggdrasill in the summer of 1992, their legendary mini-album Hordanes Land coming out in 1993, and with their debut full-length Vikingligr Veldi arriving in the spring of 1994.

It’s a rare and remarkable feat that 35 years and now 17 albums in, Enslaved’s horizons still continue to expand. Every stage of the Bergen band’s evolution, every new phase entered, has felt like an organic act of discovery and renewal. Their journey has been at once a commitment to a promise that found its embryonic form in the Norwegian black metal scene they emerged from, and a willingness to challenge both orthodoxy and themselves from the off to make that potential manifest.

Enslaved’s new album, Mið, an Old Norse word for ‘centre’, or ‘middle’, marks another departure, and another new beginning. The band have always dealt in states of transition, nor least on the thematically linked, mythology-steeped rites of passage that were 2020’s Utgard and 2023’s Heimdal. What lay beyond, however, was… unexpected.

Mið is an album that sheds light on harmonies and dialogues embedded all around us: between the ways of the past, and how they can bring enlightenment to the present, between small kernels of truth and their ability to project onto the most universal on canvases, and between band members relying on instinct and each other to create a record that galvanises on every possible level.

Enslaved are:
Ivar Bjørnson | guitars 
Grutle Kjellson | vocals, bass
Arve ‘Ice Dale’ Isdal | guitar
Håkon Vinje | keyboards
Iver Sandøy | drums

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Enslaved Announce New Studio Album ‘MIÐ’ appeared first on The Razor's Edge.

The music industry has changed dramatically since the mid-20th century. Back then, vinyl records, radio play, and record stores were king. Now, it’s all about streaming services like Spotify, viral trends on TikTok, and constant online engagement.

This massive shift means the path to stardom looks completely different. What worked for iconic artists decades ago might fall totally flat in today’s fast-paced, digitally driven market.

This doesn’t take away from their genius or influence, but it’s a reality check on how the modern music machine operates. Here’s a look at 12 legendary figures from the past and why their unique styles might prevent them from achieving mainstream success if they were starting out right now.

1. Bob Dylan

Emerging from the 60s folk scene, Dylan became a voice of a generation with acoustic, politically charged anthems. His genius lies in complex, philosophical lyrics and lengthy narratives. Why he might flop today: Today’s mainstream craves shorter, easily digestible songs for TikTok and streaming playlists, not lengthy, dense folk ballads.

His famously raw, sometimes mumbled vocal style clashes with the polished, often Auto-Tuned sound dominating pop and hip-hop. While his lyrical depth is timeless, the fast-scrolling, visual nature of modern music discovery might bury his message. His historical resistance to playing the mainstream game would clash hard with today’s need for constant social media presence and branding.

2. Frank Zappa

A true original, Zappa blended classical, R&B, doo-wop, and rock into complex, often satirical compositions. Albums like Freak Out! mixed rock structures with wild sound experiments. Why he might flop today: Zappa’s deliberately difficult, genre-mashing music would struggle to find a place on mainstream playlists demanding clear categories. His intricate arrangements and unconventional song structures are the opposite of today’s often formulaic pop hits.

Furthermore, his iconoclastic, often controversial lyrics criticizing society might get him canceled or simply ignored in the polarized social media landscape, failing to gain the traction needed for widespread appeal.

3. Captain Beefheart

Known for his unique blend of experimental rock, avant-garde jazz, and Delta blues, Beefheart was an enigmatic figure demanding total control. His music, while critically acclaimed by some (like Trout Mask Replica), was challenging and achieved little commercial success even in his own time.

Why he might flop today: Beefheart’s highly experimental, unpredictable, and often dissonant music is fundamentally at odds with mainstream tastes favoring catchy melodies and conventional structures. In a world driven by quick hooks for viral content, his eccentric style would likely remain deeply niche, appreciated by a small online cult following perhaps, but nowhere near mainstream recognition.

4. The Velvet Underground

Integrating rock with the avant-garde, The Velvet Underground tackled provocative themes like drug use and urban decay with a cool, nihilistic attitude. Their influential debut album initially flopped commercially. Why they might flop today: Their raw, minimalist, and often abrasive sound (featuring drones and distortion) would likely alienate mainstream listeners accustomed to polished production.

Dark, challenging lyrical themes are also a harder sell for broad appeal compared to relatable pop narratives. While they might find a dedicated following in today’s online alternative scenes, their core style remains too unconventional for widespread, chart-topping success in the current market.

5. Tom Waits

With his distinct gravelly voice and evocative lyrics about society’s underbelly, Waits carved a unique path from folk to incorporating blues, jazz, and experimental sounds. He has a devoted following but hasn’t always chased mainstream commercial success. Why he might flop today: Waits’ instantly recognizable but highly unconventional voice doesn’t align with current mainstream vocal trends.

His songs often feature unusual instrumentation and structures, making them less accessible for listeners used to pop and hip-hop formats. While his storytelling is potent, achieving broad success in a market favoring shorter, easily digestible, and often visually-driven content would be a significant uphill battle.

6. Kate Bush

Kate Bush achieved UK stardom instantly with “Wuthering Heights,” showcasing theatricality, complex arrangements, and a unique vocal style. Her US impact was limited until Stranger Things caused a recent resurgence. Why she might struggle for mainstream dominance today: While her strong visual identity and creativity could thrive on platforms like YouTube and Instagram, potentially sparking viral moments (as seen with Stranger Things), her complex song structures and highly unconventional vocal delivery might still be challenging for sustained, broad mainstream pop radio and playlist dominance compared to artists with more formulaic approaches.

Breaking through initially, especially in the US market dominated by different trends, could be difficult without a lucky break like a sync placement.

7. Leonard Cohen

Starting as a poet, Cohen transitioned to music with deeply introspective, often melancholic songs delivered in his distinctive deep voice. He inspired devotion but never achieved massive commercial success. Why he might flop today: Cohen’s limited vocal range and somber, complex poetic lyrics don’t fit the mold of today’s dynamic pop vocalists or the trend towards simpler, more direct lyrical themes.

His often traditional, folk-based song structures might feel dated compared to contemporary production. While his depth would resonate with a niche audience online, achieving mainstream recognition in a market driven by upbeat tempos, instant gratification, and viral trends would be highly unlikely.

8. Tiny Tim

Famous for his novelty hit “Tiptoe Through the Tulips,” Tiny Tim relied on his ukulele and unique high falsetto/vibrato voice. His act was eccentric, drawing fascination and ridicule. Why he might flop today: His sheer oddity could definitely spark a viral moment on TikTok – the uniqueness is undeniable. However, novelty acts rarely sustain mainstream careers.

His musical style offers little substance beyond the eccentricity, making long-term appeal outside of short-lived internet fame highly improbable. He’d likely be a brief meme, not a lasting artist.

9. Syd Barrett

A founding member of Pink Floyd, Barrett was a key innovator in early psychedelic rock, known for whimsical lyrics and experimental sounds. His career was cut short by mental health struggles. Why he might flop today: Barrett’s highly experimental, often fragmented, and sometimes dissonant musical ideas are far removed from mainstream preferences for polished, coherent song structures. While his unique creativity might attract a cult following within niche online experimental or psychedelic communities, his inconsistency and unconventional approach make mainstream success virtually impossible in today’s market.

10. GG Allin

A punk rocker infamous for his transgressive and violent stage antics, including self-mutilation and attacking audiences. His music was raw, aggressive, and confrontational. Why he might flop today: Allin’s extreme behavior and offensive content would undoubtedly generate massive controversy and notoriety online.

However, this notoriety would almost certainly preclude him from any form of mainstream success. Streaming platforms, labels, venues, and advertisers would likely shun him. While he might find a following in the darkest corners of online subcultures focused on shock value, he represents the antithesis of a commercially viable mainstream artist.

11. Yoko Ono

A multimedia artist known through her marriage to John Lennon, Ono’s musical work is often highly experimental and avant-garde, featuring unconventional vocalizations and soundscapes. Why she might flop today: Her challenging, abstract musical style and vocal performances are geared towards the art world and experimental music fans, not mainstream listeners.

While her name recognition might draw initial clicks, her music itself is unlikely to connect with audiences seeking the pop, rock, or hip-hop sounds that dominate today’s charts. Achieving widespread musical popularity based on her artistic output would be highly improbable.

12. Luciano Pavarotti

A globally renowned operatic tenor, Pavarotti brought opera to millions, selling over 100 million records. His powerful voice and charisma were undeniable. Why he might flop (in pop) today: While his exceptional vocal talent would surely gain attention, particularly on platforms showcasing technical skill (like YouTube or even TikTok), traditional opera remains a niche genre compared to mainstream pop, hip-hop, R&B, and EDM.

Achieving pop stardom in the current market, dominated by vastly different sounds and structures, would be extremely difficult. Crossover collaborations might offer some broader appeal (as he did later in his career), but his primary success would likely remain confined to the classical music world, not the mainstream pop charts.

13. Nick Drake

Drake was a hushed, introspective folk musician whose whisper of a voice and intricate acoustic guitar work went almost entirely unnoticed during his three-album career. He shunned live performance and interviews, and died at 26 having sold only a few thousand records in his lifetime.

Why he might flop today: streaming algorithms reward artists who show up, on stage, on stories, in comment sections, and Drake’s near total refusal to perform or self-promote would starve his music of any real discovery engine. His songs unfold slowly, built on mood rather than hooks, which works against a platform culture trained to skip past anything that doesn’t grab attention in the first few seconds.

His music eventually found an audience decades later through film and commercial licensing, a slow burn that today’s instant, algorithm-driven marketplace has little patience for.

14. Sun Ra

Claiming origins from Saturn and leading a rotating collective called the Arkestra, Sun Ra fused big band swing, free jazz, and cosmic mythology into performances that felt as much like ritual as concert. His catalog runs to hundreds of albums, most of them defiantly uncommercial.

Why he might flop today: his music resists categorization entirely, sliding between chaos and swing within a single track, which makes it nearly impossible for streaming services to slot into a tidy genre or mood playlist. The sprawling, improvisational nature of his work also runs counter to the short, endlessly replayable format that algorithms tend to favor.

His theatrical persona and space age mythology might earn him a curious viral clip here and there, but turning that novelty into sustained listenership in a market built on quick, easily categorized content would be a tall order.

The post 12 Musicians Who Would Totally Flop If They Debuted Today appeared first on Metal Shout.

Norwegian progressive black metal pioneers Enslaved have officially announced their seventeenth studio album, Mið, set for release on 30th October via Nuclear Blast Records. Across a remarkable 35-year journey, the Bergen vanguard have continually expanded the frontiers of heavy music, weaving Norse mythology and esoteric philosophies into intricate modern soundscapes. With Mið – the Old … Continue reading Enslaved announce seventeenth studio album Mið and unleash cosmic new single “Solar Will”

Rock lore loves the singer, worships the guitarist, and lionizes the drummer. Yet the bassist, the one literally binding rhythm to melody, often ends up the whipping post when ego, money, and misery start piling up.

Below are ten low-end legends who discovered just how expendable the “glue” can be when a band starts to crack.

1. Jason Newsted – Metallica’s “Newkid” Who Never Graduated

Cliff Burton’s tragic death left a chasm nothing could truly fill, and Jason Newsted paid for it. Hazed mercilessly (“We tried to beat the fan out of him,” James Hetfield later admitted), his bass was buried on …And Justice for All, and any attempt at outside creativity like his side-project Echobrain was stamped out.

After 15 years of being treated as a perpetual temp, he walked in 2001, proving even the biggest band in metal can’t keep you if it won’t let you breathe.

2. Michael Anthony – The Nice-Guy Outsider in the Van Halen Clan

He co-founded the band, powered its party-chorus harmonies, and played peacemaker for decades yet never shared the Van Halen surname.

Eddie and Alex steadily squeezed his royalties, mocked his playing, and finally replaced him with Eddie’s teenage son in 2006. Anthony wasn’t fired for lack of chops; he was punished for failing the family-loyalty test.

3. Kim Deal – The Pixies’ Spark Who Out-Shone the Boss

Deal’s magnetic stage presence and Breeders side-hustle turned her into an alt-rock superstar, much to Black Francis’s chagrin. Crowds roared louder for “Gigantic” than for his own songs, and Francis, guarding his fiefdom, froze her out in the studio.

Faxed dissolution notices (1993), a tense reunion, and another exit (2013) proved two great songwriters can’t coexist if one refuses to share the spotlight.

4. D’arcy Wretzky – Pumpkin Turned Scapegoat

Billy Corgan casts her as the addict who had to go; Wretzky recalls panic attacks, miscarriages, and nonstop belittling driving her to drugs. Whether casualty or culprit, she was ousted in 1999, then dangled and ghosted during reunion talks nearly two decades later.

She’s also a part of

The result: a fractured legacy and a cautionary tale about toxic front-man rule.

She’s also one of the most beautiful female musicians!

5. Glen Matlock – S** Pistols‘ Songsmith Too Tuneful for Anarchy

McLaren’s marketing genius declared he was sacked for “liking The Beatles.” In reality, Matlock quit, sick of the manufactured chaos between himself and Johnny Rotten. He’d written most of Never Mind the Bollocks, but the Pistols wanted spectacle over songcraft.

Matlock chose melody over mayhem, and still gets booed in punk mythology for it.

6. Dee Dee Ramone – Heart, Soul, and Headache of the Bruddahs

The Ramones’ main songwriter was also their walking disaster: lifelong addiction, street hustling, and explosive mood swings.

By 1989, recording Brain Drain felt like “pure hate,” so he quit to save himself, and the band exhaled in relief. Dee Dee’s chaos forged punk’s blueprint, but living with it proved impossible.

7. Kim Gordon – When the Band Is a Marriage

Sonic Youth’s democracy crumbled when Thurston Moore’s long-secret affair surfaced in 2011. Moore thought the band could pause; Gordon knew trust was gone.

No d***, no money fights just heartbreak that killed a 30-year art project overnight, reminding us some musical bonds are literally vows.

8. David Ellefson – Megadeth’s Co-Founder Caught in Mustaine’s Revolving Door

Lawsuits over royalties (2004) and a revenge-p*** scandal (2021) bookended Ellefson’s two exits, but the common denominator was Dave Mustaine’s absolute control.

The guitarist who’s still fuming about being fired from Metallica now dishes out pink slips with equal finality especially when the brand is at risk.

9. Ron McGovney – Metallica’s Placeholder Who Funded the Dream

Before Kill ’Em All, Hetfield and Ulrich rehearsed in McGovney’s garage and on his dime. Yet he always sensed he was “until they found somebody better.” Enter Cliff Burton, and McGovney learned he was out via grapevine, not meeting.

He bears no grudge, but his story shows how ruthless rising legends can be.

10. Paul Simonon – The Clash’s Icon Who Smashed the Moment, Not the Band

Simonon wasn’t hated by his mates far from it but his legendary bass smash at New York’s Palladium (immortalized on London Calling) sprang from raw frustration at seated security killing the show’s energy.

One violent swing captured the eternal tension between performer and venue and became punk’s most famous photograph.

11. Peter Hook – New Order’s Low-End Legend Locked Out of His Own Legacy

Hook co-founded Joy Division as a teenager, then helped forge New Order’s icy dance-rock after singer Ian Curtis’s suicide. His melodic, lead-line bass became the band’s signature sound for three decades.

But by the 2000s, the relationship with guitarist-turned-frontman Bernard Sumner had curdled into open hostility. Hook quit acrimoniously in 2007, and when Sumner reformed New Order without him in 2011, Hook answered with lawsuits over royalties and rights to the band’s name.

The result: two rival “New Orders” touring on either side of the Atlantic, and one of British music’s messiest, most protracted breakups still generating headlines more than a decade on.

12. Tina Weymouth – Talking Heads’ Anchor, Cut Loose by a One-Man Decision

Weymouth’s rolling basslines carried Talking Heads from CBGB art-punk into stadium-sized funk, and she co-founded the Tom Tom Club with husband Chris Frantz to fill the creative gaps as David Byrne grew more solitary.

When Byrne quietly told a European newspaper in 1991 that Talking Heads was finished, Weymouth and Frantz learned their band’s fate the same way fans did: secondhand, with no meeting, no vote, and no goodbye.

Decades of resentment followed, spilling out in Frantz’s memoir years later, proof that a band can end not with a blowup, but with a single unilateral quote to the press.

 

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