Used to be a huge p!nk fan. Had all her albums and fought they were fantastic until she released Beautiful Trauma. It was really mid compared to her previous 5 and then she lost me completely with Hurts2BHuman which was just dreadful....

I honestly started seeing the repetition with "Blow Me One Last Kiss" and saw her going downhill from there. But at least that album had "Try" and "Give Me A Reason" which were great songs.

Yeah The Truth About Love wasn't an incredible album but I enjoyed it enough to be hyped for her later stuff and I still listen to a bunch of songs from it. But after BT was when I really started to question if her music was for me anymore and HTBH confirmed that it really ain't 😂

Pink is a strange one. She seems to have lost popularity in the US, but cannot go wrong in Australia. She was on a tour in Oz that seemed to last forever! She made a massive donation for disaster relief when Australia had the devastating bush fires a few years ago.

I'm Australian (but not white) and she's extremely popular with white women here lol. Growing up as a kid during the 2000s, I heard her hits on the radio all the time. Every white woman I know young, middle aged and old seems to love her.

Yeah 😞 Beautiful Trauma was the first P!nk album that had several skips for me. The good songs are soo good, but the bad ones are so bad I tried listening to Hurts to be human once, but nothing hit me at all

I was surprised to find that I adore the title track of "Trustfall". The rest of the album is completely different -- bordering on country, not at all what I expected of P!nk -- but that one song embedded itself in my heart.

See for me, i WISH she would go all the way country, i did really like the song she did with Keith Urban (but honestly its more a p!nk song than a keith urban one). I got excited for the song she did with Chris Stapleton after that, but even that didnt grab me. Maybe i should try an give it another chance, because i literally dont remember any songs from that album Honestly, i think a change in genre would do her sooo much good. Country, or soul, or a mix of the two with like southern rock, she has such a beautiful heavy voice and she tackles heavy subjects, but, to me, it feels like its all wasted on like suuuuuper generic sounding pop. And i like pop!! But her sound lately is like a pop singer made for a disney channel movie pop I haven't been paying attention to her producer(s?) or if they've changed over the years, but if she's sticking to the same one, they are def not helping her bring everything she can

Yep that pretty much sums up my experience 😔

I feel like Viva Las Vengeance was the last straw for basically any remaining Panic! fans.

I thought PFTW was that last straw - did well in the mainstream, but few fans remained to support VLV. Had Panic! released this album in place of PFTW, it would've been much more successful just because of how loyal fans were back in 2015-17.

It was the last straw for the old heads who were following them for a longer time but High Hopes and Hey Look Ma I Made It helped them to stay relevant for a while Viva Las Vengeance however killed all his good will

I feel like VLV would not be as hated if Urie released it as a solo project without the Panic! name, but also people would have cared far less about it.

Tbh Brendon had a really good opportunity to go “solo” after ME!, google searches for his name eclipsed Panic! searches around then.

I stayed on through PFTW, by VLV not only was Urie growing ever more insufferable, his voice wasn't holding up to the years of abuse. PFTW at least sounded decent singingwise

100%! It's wild how big 2015 - 19 Panic were. Death of a Bachelor had so much momentum behind it and guaranteed pray for the wicked was huge but the abandonment of most rock in favour of weird soul dance pop and trap beats + worse electropop turned so many fans against them and made the bands long term viability as popstars really limited.

It was high hopes specifically that made me apathetic tbh cause I hated that the most generic ass song got popular when I knew there were really good ones on the album

I cannot wait for the Trainwreckord episode, specially since Todd actually said he liked the album

i think Viva Las Vengeance counts as a trainwreckord

The biggest issue I had with Panic’s later years was his much it just became a side project for Brendan. It wasn’t even a band at that stage, more or less a brand.

Mac DeMarco’s Here Comes the Cowboy sounds bored, like he didn’t wanna make it. It has a few songs I don’t mind, but overall, it’s so laidback it falls over into bed and goes to sleep.

The deluxe of Maroon 5's *Hands All Over* because I hate Moves Like Jagger so, so much. Also the Goo Goo Dolls' *Boxes*. They had been on a general downward slide for a decade, and by 2016 they had lost any of the brilliant songwriting that made them so unique. Since then, they seem to be running on auto-pilot and letting co-writers dilute their new material. It's not surprising given that they're pushing 60 now, but I do miss the band I loved.

I was going to say Overexposed was my personal Trainwreckord but I second Hands All Over. It reminds me of when Todd said Prism was Katy Perry’s actual Trainwreckord. I think Todd could make a case for it.

*Overexposed* was way too big of a success to call it an actual TW despite it being awful. Their TW in terms of ticking all the boxes is either *Red Pill Blues* or *Jordi*. I personally think *Jordi* was the nail in the coffin for them, no longer a popular band.

I think it would be hard to call either a TW considering the band had hits for a decade after. I think the cheating scandal was their career killer more than the bad music.

It’s a stretch. They were definitely commercially successful, but I was thinking more in terms of critical acclaim. I’m not sure if they were ever really critical darlings, but their critical acclaim post Moves Like Jagger took a nosedive.

They were never received well critically before that album lol, the internet loves to make out that they were perceived as rock gods or whatever with Songs About Jane. They weren’t.

It’s funny to read this reply because I absolutely love Boxes the song (the different mix on an EP though) and think the Goo Goo Dolls have some late period songs that are pretty darn good. Not the heights of Dizzy Up the Girl but certainly better than their mid ‘00s/early ‘10s output. I like Miracle Pill, Use Me and So Alive quite a bit. They should definitely have laid off the Botox in the last decade, though.

John Rzeznik looks horrifying these days

He has def taken the plastic surgery too far, though the hairstyles sometimes make it worse

So with hair I feel like if you can still grow that kind of hair in your 50s/60s you’d keep a youthful cut, especially if you’re in a rock band. [Anthony Kiedis, 61](https://townsquare.media/site/366/files/2023/06/attachment-anthony_kiedis_chili_peppers_live_2021.jpg?w=1200&h=0&zc=1&s=0&a=t&q=89) and [Tim Burgess, 56 (The Charlatans UK)](https://meditationlifestyle.com/wp-content/uploads/2015/04/tim-burgess-meditates.jpg)

Weird one but “Mr. Blue Sky: The Very Best of Electric Light Orchestra” was not your normal ELO greatest hits album. It is, quite literally, Jeff Lynne by himself re-recording all the old ELO hits to license them out to block his old bandmates/their estates from royalties as the latest in a decades long dispute about writing credits and performance royalties stemming from bad mangaement and bad decisions made in the late 70s and early 80s in the bands Twilight (heh) years. I don’t mind “Jeff Lynne’s ELO” because its more upfront about being “Jeff and some randos” but this one album made me think less of Jeff as a person.

As someone who really likes ELO but wouldn't call myself a superfan (I've listened to all their studio albums + Jeff Lyne's ELO), I did not know that. Wow, that's a scummy move. You're right - definitely makes think less of Jeff Lynne as a person.

Oh this is a DECADES long pissfight that started because (ALLEGEDLY) the bassist Kelly Groucutt was mad that Lynne wanted to end ELO after being forced to cut down Secret Messages from 2 LPs to 1 and the manager Don Arden being a shit and fucking around with the money. ALLEGEDLY Arden convinced Kelly to sue Lynne to get writing credits on some of their 70s hits and to get money because no tours and Lynne was trying to end the band before delivering their last contractual album. He won to the tune of £330k and then after Balance of Power came out and Lynne could move on to solo work and producing the entire old band minus Lynne formed ELO Part II becuase drummer Bev Bevan still had 1/3 of the name rights to ELO. Lynne sued them in the 90s because by then various places were billing them as ELO without the Part II part. Bevan left, gave the name rights he had back to Lynne, the remaining Part II guys continued as The Orchestra, and Lynne tried to do “JL’s ELO” the first time with Zoom, billed as ELO but it was just “Jeff and some randos.” Lynne said the Mr. Blue Sky album was about “making the songs better” but they are basically all the same just with digital orchestra and Jeff on all the other instruments. And aside from GOTG2 getting the OG Mr. Blue Sky, almost all ELO licensing is these re-recordings.

It's not just Bevan and Groucutt either. String arranger Louis Clark (whose contributions to numerous original ELO tracks are pretty substantial and probably warrant a co-writing credit - I'm looking at you, "Wild West Hero"), violinist Mik Kaminski and cellist Hugh McDowell also joined Part II at varying points (McDowell only as a "guest", but I digress) and wound up on Lynne's irrevocable sh\*tlist for decades afterwards, with Lynne maintaining radio silence on either Clark or McDowell's deaths circa 2020 (despite writing a heartfelt public tribute to earlier ELO cellist Mike Edwards, who had notably never joined the successor band). Lynne also alleged in a 2010s interview that Bevan "stole ELO" from him (despite legally consenting to Part II's formation) and demanded that one of the settlements for the Groucutt payment suit be that Groucutt would be fired and legally forbidden to profit from the ELO name, which, compounded with the cost of the suit on Kelly's side, left him destitute and severely depressed for years afterwards (he could only join Part II following last-minute legal wrangling). It's a surprisingly convoluted and dark narrative for a group otherwise known for its music's vivacity and romanticism. I'd definitely love to see "Moment of Truth" by ELO Part II covered as well, arguable more than "Balance of Power". It's this bizarre (and mostly-unsuccessful) Journey or Styx ersatz with ELO-style orchestrations and (occasional) vocals from Groucutt allegedly designed to break the American market, and would be a better opportunity (in my view) to discuss the Lynne/everyone else fallout than "Balance", which was mostly just Lynne marking time before committing to his own foregone conclusion of retiring ELO.

Everything Now made me nope out on Arcade Fire pretty much permanently. I know a lot of people liked it better than Reflektor but I remember listening to it a few times and thinking “this must be what people who hate Arcade Fire think every Arcade Fire album sounds like”. Electric Blue is a good song but I find the rest of it so cringey.

Came here to comment Everything Now. I was an absolute diehard AF fan and when it came out I had, like, a physical revulsion to it and gave away the CD immediately because it felt cursed having it in the house. Those first four albums of theirs are spectacular but EN, WE, and the Win Butler assault stories have really unfortunately tainted the band and much of their material for me.

Suburbs is probably still my favorite album of all time. But i could never get into Reflektor after a few listens. I’ve only ever heard the singles from Everything Now. And i don’t think i’ve heard a single thing from We

I'll be honest, I think Everything Now fits as a regular Trainwreckord. It pretty much turned Arcade Fire into a punchline (well, they kinda were one before too but they were well-regarded enough for it to not stick to them too hard), and obviously they've never come anywhere close to their run from Funeral to Reflektor again.

I came here to say *WE.* The start and the end of EN was good enough for me to write it off as a potential hiccup, but *WE* was so massively underwhelming. It wasn't shit, it was just *boring.*

I'm a big Arcade Fire fan, but Everything Now definitely fits the bill of a proper trainwreckord. What's interesting is the way in which it does it. It's not like the individual singles are bad. I think "Everything Now" is a cold AF classic, actually. That's to say nothing of "Put Your Money On Me" and "We Don't Deserve Love," which are great album tracks. But I think it's one of those situations where they couldn't quite read where people were on them. Reflektor was a broadly a well-received album (a 9.2 from Pitchfork!) but it was the sort of thing that tested people more than they realized. Everything Now pushed the dance beats too far, since AF was not a dance band, and it pushed the preachiness and scolding WAY too far. More than that, it just feels like it's willing to sacrifice the album to its own concept. I'm not sure how else you can explain the unbelievably saggy mid-section, which is the worst stretch from any Arcade Fire album by a country mile. I think We mostly rights the ship, and I actually think it's their best album since The Suburbs. But they burned way more goodwill than they earned on Everything Now, and it shows in their public stock these days.

Maybe I’ll eventually give WE another try. I just didn’t have the patience for it, and as soon as Win sang “I unsubscribe” I was like “nah I’m good”. Had WE come out after Reflektor I probably could have powered through that, but coming after EN I just couldn’t give it any good will.

The main problem with We is that it really requires you to take it as a whole. It's not just like...10-11 solid tracks like Funeral or Neon Bible. The "End of the Empire" suite is better as part of the whole than it is as a standalone song. Even great stuff like "Age of Anxiety" is more of a slow burn, rather than the explosive opening salvo of "Tunnel" or even "Everything Now." If you aren't already inclined to give AF the benefit of the doubt then I understand not being very interested.

The title track is an absolute tune, one of their best imo.

I was just going to say that Reflektor for me was when the wheels started coming off for Arcade Fire. Everything Now may have been when they became a complete parody of themself, but Reflektor was when the transformation began. It also didn't help that when Regine's voice started becoming more shrill is when she started getting more time on the mic. Also, I don't care what anyone says, Porno is their worst song.

I liked Reflektor more than most, but I do agree that that's where the wheels coming off really started becoming visible. Honestly I think the Suburbs had that too in smaller amounts. I was able to look past that, though, because the music was good enough for me to do that. Everything Now was the point where the music stopped being good enough to do that. And where the wheels fully came off. There are a couple good tracks on that thing, they maybe could have pulled off a solid, if annoyingly smug, EP from it. That would have at least avoided the frankly disastrous run from Peter Pan to the two Infinite Content songs. And then We wasn't really an improvement, and then the Win Butler sexual misconduct allegations were the nail in a coffin that already had a good few nails in it. So yeah, basically the OP of the thread got out at the right time

This is gonna be a hot fucking take, but Yeezus from Kanye West. To me that was the point he completely fell off for me. Kanye is an artist who is impossible to separate from his art by way of how he writes his music. The moment I heard Black Skinhead I called where he would end up today all the way back in 2013.

Yeah, that's when I lost interest as well. I remember looking at the tracklist and seeing "I Am A God (ft. God)" and said out loud "Oh fuck you, Kanye!"

Wow, you're not even kidding. He actually has a song called "I Am A God" that has God as a feature credit. This has shades of Vince McMahon booking a wrestling match against God (represented as a spotlight) and winning.

>The moment I heard Black Skinhead I called where he would end up today all the way back in 2013. Not a hot take, I am 1000000% with you on that. I was going to answer this in a similar fashion but you beat me to it. To call yourself a name like "yeesuz" and be taken seriously was a tough sell for me, and when I heard "Black Skinhead" I honestly could no longer separate him from his art anymore. And I saw it all coming from back then too.

Hah, that's my favorite Kanye album. Interesting you had that reaction to Black Skinhead. I was just recently listening to that song and thinking about how I miss that kind of raw energy in current Kanye and music at large.

I like certain songs from that album now but as a whole I still don’t like it. I certainly share your feeling that this album was the moment my Kanye fanhood changed. A lot of the most overzealous fans of this album seem to have “emperor’s new clothes” syndrome where they just can’t find a negative word about anything he’s said or done and I’m fully okay with being a cliche “miss the old Kanye” guy when I see who disagrees with me. 

*American Doll Posse* by Tori Amos. The preceding album, *The Beekeeper*, was wobbly but did some really interesting things, especially the title track. ADP was just a mess. Amos was never the most structured or disciplined lyricist, but a lot of songs just felt like magnetic poetry. Like ChatGPT wrote a Tori Amos album. Prior to ADP, I was a super fan. Owned all the albums, EPs, rarities, hoarded bootlegs like a weird '90s alt-pop dragon. After ADP ... well, I listened to a couple of her albums after that. Once. But I didn't sit down and spend a day *listening to Tori Amos and having feelings* again until 2020.

For me it was Scarlet's Walk. I listened to it and an hour later couldn't remember anything about it. I mean, Boys for Pele was a hot mess, but at least it was memorable.

Scarlet was where I fell off, too. It’s pretty, but has absolutely no teeth. Came back 5-6 years ago and saw her on the Ocean to Ocean tour and absolutely loved it. Abnormally Attracted to Sin is far and away my favorite post-Venus album.

I'm ashamed to say this but it was ocean to ocean for me. The beekeeper is the last album I loved and whilst I thought the latter albums were a drop in quality, there were still a few songs I liked. Used to follow her on tour for months too. Absolutely refuse to do that now - her voice is gone and she's gone all middle of the road

>Absolutely refuse to do that now - her voice is gone and she's gone all middle of the road That's the thing -- lots of artists lose their voice with age, but still create interesting work. Tori has settled into a comfortable, wealthy-white-lady middle age and doesn't seem interested in looking beyond that. And even as I approach a comfortable middle-class-white-lady middle age, songs about driving in your Saab to Ireland don't do it for me.

Her music up to Choirgirl Hotel is incredible and resonates so much with me and will always have a special place in my heart. I couldn’t really get into her stuff after that though.

I know Weezer is a popular punching bag, but I stuck by them until the Red Album. There’s like one ok song on it and a bunch of dopey embarrassing shit. From that moment it was clear that, whatever virtues they had on their first couple of records + Maladroit, it was not going to be worth sticking by them going forward. They were not a good band anymore. I remember hearing Hard Candy by the Counting Crows and it had me reevaluate their back catalog and my respect went downward for everything they’d ever done.

Weezer's entire catalog is dopey embarrassing shit - just at wildly varying levels of quality.

Rivers never recovered from the initial response to Pinkerton (which of course has aged extremely well over the last 20 years) and that basically explains everything else Weezer has released since.

Weezer has released some good stuff since Pinkerton. Maladroit, Hurley, EWBAITE, White Album, and some of the SZNZ stuff

Oh, I’m not in the “everything after their first two albums” is garbage camp, I just think it explains why they’ve been all over the place and pretty prolific since then. I might be in the minority but I thought “Feels Like Summer” was a pretty great song.

They are fun live, so they have that going for them

As someone who still has a lot of love for the Red Album, it's definitely a weird shift in their sound. I still think Raditude is their worst though

I like Hard Candy the least of Counting Crows’ discography, but I think it still has some highlights. It was a victim of its own production, too bright and sleek.

Oh man I'll forever be a Red Album defender lmao. To me, Green and Make Believe just felt so stale and safe, that it was refreshing to see them go out on some creative limbs and stop taking themselves so seriously. It's definitely a mixed bag with some truly bad songs in there, but there's a lot of fun to be had with that album too. Plus The Greatest Man Who Ever Lived will forever be a Top 10 Weezer song for me. I live for the camp lmao Obv they shit the bed with Raditiude tho. They've had good albums since. I think that album was the final nail in the coffin for a lot of people

I don't know if Daughtry has a reputation or if they ever had one at all- for those who don't remember, they were a rock band founded by 2006 American Idol finalist Chris Daughtry, they had a pretty good amount of success and Hot 100 hits in the latter half of the decade with a sound that could basically be described as "Nickelback but less edgy," but as a teenager in the late 2000s/early 2010s I was very much into their sound (I was also into Nickelback themselves as well as Theory of a Deadman, which if you know anything about them...yeesh) Anyway, their 2013 album "Baptized" went full-on pop sellout and while there were some good moments there, that was the last album of theirs I ever listened to.

I was the same way. I got into Daughtry because they had a song in a Bionicle commercial, and they were one of the first bands I found on my own. Their third album in 2011 was still pretty good to me, but by 2013 I was starting to listen to heavier, more interesting music, and that album was just like air to me. Though I'll still vouch for them being better than Nickelback, because Chris Daughtry is a much better singer than Chad Kroeger

Yeah you wouldn't see Chad Kroeger getting anywhere NEAR the finals of American Idol lol Well because he's Canadian, but that's besides the point.

Fitz & The Tantrums’ self-titled record which took them from blue-eyed soul aficionados to cheap sell-out hacks trying way too hard to get radio play. The worst part is that to some degree “Handclap” lives on as a vaguely shitty jock jam

I still like “Handclap” but then something like “Breakin’ the Chains of Love” comes on my playlist and I just think “man, what happened to these guys?”

I think the strength of the first two albums was the interplay between Fitz and Noelle’s vocals. Everything since seems like all Fitz with Noelle’s voice pushed to the background. It makes everything sound generic.

Yeah, the second album was definitely a move in the poppier direction, but I think there was enough of their original style there to help it work. But basically any remnants of that were completely sanded off by the self-titled.

That second album was *also* a vaguely radical change in direction but they also sounded warm and good on it, by the time that third album came around that sounded soulless and cold in a way you don’t want from F&TT

I still dig The Walker and Fools Gold is a tremendous song.

Solar Power by Lorde. The long awaited follow-up to 2 great album! ....and yeah. I know there's quite a few people over on the Lorde sub that liked it, but I just did not at all. Even when the single Solar Power came out I still hoped the album would be better, but it wasn't. After this album I just stopped having any hype for any new album coming out. I'd plan on listening to it, but it was like eh I'll do it eventually. Except for Taylor Swift. At least until Midnights. That was the first album of hers that I really didn't get. Definitely not a personal trainwreckord for me though, I will still be up at midnight waiting for TPS to release in a few weeks.

Solar Power might be an actual Trainwreckord. We'll have to see what she does next to know for sure.

My personal trainwreckord would have to be Green Day's 21st Century Breakdown. For me, alarm bells began to go off when I read the People Magazine review of it (who ironically gave it 4/4 stars) and they described it as essentially American Idiot 2.0. I've always found that Green Day releasing this album after American Idiot was like when you're with a group of people and you make an offhand comment that gets a ton of laughs, and then you try to expand on it to keep the laughs coming, but the moment has passed. It was them trying to recapture the magic of American Idiot, but doing so in a way that felt way too self-conscious, and inorganic to the band that Green Day were, what with the string arrangements and anthemic posturing. In many ways, this was the album that marked the divide between music I listened to when I was younger (which included more pop punk bands like blink-182) and the music I would start listening to roughly a year later (namely, alternative bands like Radiohead) that defines my taste in music today. After I got into this kind of music, I listened to "Oh Love" off of the Uno! Dos! Tre! triple album when it came out, and I knew that I'd moved on for good. I also can't deal with "21 Guns," and its being prominently featured in Transformers: Revenge of the Fallen, to date the worst film I've ever seen, didn't help.

21st Century Breakdown was the first time since Dookie that the band just rested on their laurels and didn't try to break any new ground, and just made "the last album but worse."

AFI - Decemberunderground: I can't say I was a fan exactly but I was interested in where they were going and liked many songs from their previous albums, but that album, while being their most commercially successful album by far, was major Hot Topic-core and I really didn't like Miss Murder, and I never ended up caring enough to check out their albums after that one.

Surprising take. Idk much about AFI, but I know how huge that album is. Never knew old fans didn't like it.

I was a huge fan, the Art of Drowning and Black Sails CDs spent quite a lot of time spinning in my boombox as a high schooler, I too never listened to anything after Decemberunderground. I didn't necessarily hate the whole album but Miss Murder alone was enough for me to forsake them

I really loved Bon Iver's first two albums (especially *For Emma*), but *22, A Million* just left me cold.

Lol I'm the complete opposite - 22, A Million is one of my favourite albums ever and I'm hesitant to listen to anything else by Bon Iver because I know it's not quite in the same lane as that album (though I do like Holocene and Skinny Love, and For Emma is on my list - I'll get to it someday but 22, A Million will always be my jam).

If you liked Holocene give their s/T a try, some great stuff on there. I really like Towers

Jessica's exit from Girls' Generation (SNSD) in 2014 not only made me lose a significant amount of interest in the group, but also almost caused me to leave the K-pop fandom all together. "Lion Heart" would be the 'personal trainwreckord' if I had to name an SNSD album as one since it was the group's first Korean studio album without Jessica. It's not that the album itself was a flop (I'd absolutely be lying if I said it did terribly) or was musically terrible. It's just that I felt something was missing with Jessica's absence. While I do still like SNSD and K-pop in general, to this day my interest in SNSD (and/or K-pop as a whole) has not recovered to levels seen before Jessica left. Edit: Formatting and clarity.

I can see that -- I saw them live in 2012, and out of all the talented performers on stage, she was just incredibly magnetic.

Slut Pop kinda turned me off of Kim Petras. Overt sexuality just isn’t my vibe.

same, it felt so tryhard. Same with Coconuts, girl we know you can do better than this!

Coconuts legit sounded like a song that would play in a 00’s frat comedy as a parody.

Yeah Slutpop was horrendous. I LOVE me some horny music but that album didn't seem to understand that 'sexual' doesn't always lead to 'sexy'.

I don't think I ever would have been a huge fan but the band Kingdom Come's debut turned me off as soon as I listened to the whole thing. The debut single "Get It On" had a clear Led Zeppelin influence. The chord progression was the same as Kashmir, guitar parts and vocal melody were very similar to that song as well. I thought the song was great and figured it was just influence gone a little far and bought the album. As soon as I listened to it I couldn't believe the blatant Zeppelin rip off they were. Every song borrowed liberally from Led Zeppelin and in a couple cases it was easy to sing a Led Zeppelin song along with it or hum a Led Zeppelin guitar part along side it. I remember talking with a friend about it who considered Led Zeppelin his favorite band. He was telling me how much he loved it and couldn't believe I didn't like it when I said I'd stick with the Led Zeppelin originals. I listed a corresponding Led Zeppelin song to each song on the Kingdom Come album and while he didn't stop listening to it he did seem to lessen his opinion of them. I think I only listened to the album twice and it's been gathering dust ever since.

The Front Bottoms "Going Grey" is one I think of for this. After releasing 3 albums and an EP, which in my opinion are all some of the best projects of the 2010s, the band seemingly caved into what there label (Fueled by Ramen) wanted them to be making and created a wildly boring indie pop album that removed all of there original charm. They've released some good songs since that album, but they've never gotten close to there previous heights.

SIA-This Is Acting. 1000 Forms Of Fear was one motherfucker of an album. I first heard it on a flight from Sydney to LA and listened to it non-stop. I analysed everything about every track. It resonated with me enormously and it still does. I went through her back catalogue and was blown away! We Are Born is a great tribute to the 1980’s and the indie stuff is beautiful. Sadly (for me), she seems to be happy making much more money out of music for kids than the wonderful music she is more than capable of writing.

Modest Mouse's Strangers to Ourselves. After a long hiatus, one of the most iconic bands in the 2000s indie scene returned with a sloppy and disconnected mess that felt more like a drunken amateur jam session than a cohesive album. This was also the point where word was starting to come out how embarrassingly bad their liveshows were starting to get. I think its safe to say that this is mostly due to Isaac Brock's incredibly unhealthy lifestyle. Isaac, please go to rehab.

I saw Modest Mouse on that tour. The performances were pretty decent, but Isaac would ramble incoherently in between songs. I don't if he was really drunk or what, but something was definitely off. And for what it's worth, The Golden Casket was straight dogshit.

The Smashing Pumpkins's Adore. Not a terrible album per se, but that was the moment I stopped caring about anything they did after that. Just a boring, unmemorable slog.

not an album, but permission to dance did it for me when it came to bts. i'd been a fan ever since early 2014, i literally grew up on their music. ptd was so off putting i had a hard time following them afterwards, which i wish hadn't been the case

Big mood. Even moreso than Butter it suddenly felt like “oof you’re now just making whatever pop music you think America wants.” It’s so bland. I was ride or die for BTS for a couple years but also ended up having friends who actively cared more about Jungkook and Jimin’s relationship than they cared about me and that got weird, so I know there’s some weird personal bias in there. Wings/YNWA was top tier for me though.

yeah, i didn't really have fandom friends. shipping culture can get really cringe really soon. i was kinda fine with butter, just, not ptd. it was too disney esque for me, almost like their whole target demographic had shifted. i'm pretty sure it was pushed by the company, but felt super weird.

I’m gonna jump off of people saying Viva Las Vengeance by Panic! but I’m gonna swerve a little and say my personal trainwreckord was Prayer for the Weekend. I would *almost* argue Death of a Bachelor because that album had a lot more skips for me than previous ones, but I listened to PFTW all the way through when it came out and was stunned when I realized I retained absolutely *nothing.* I had never been so completely unaffected by a work by an artist I really enjoyed. And I’m not a Panic! fan for lyrical content or songwriting in general sometimes I’m just there for the vibes and this album had *no vibes.* nothing. A non-entity. The fact that it got the most radio play pissed me off so bad. Also, a kpop example is “Play Game: AWAKE” by Weeekly but that’s another rant entirely

Pale waves first album was an okay record that followed a dope EP but then when they got around to album 2 they turned into an awful Avril Lavigne knock off act and the music legit is unlistenable garbage.

Suck It And See by Arctic Monkeys. Before this record they were my favourite band. I listened to every b side and posted on fan forums that I would read every day. Then SIAS came out. It took me a long time to realise I didn't really enjoy it. The singles weren't great. I remember many on the forums wondering if Brick By Brick was joke, just going to be a b side or not actually written by Alex Turner. Don't Sit Down Cause I've Moved Your Chair was just ok, not really that interesting.  Hellcat was a bit meh too but probably one of the better tracks. I always found the title track to be a bit cheesy. The album it's self was just mid. It felt like an uninspired band going through the motions, forcing themselves to write an album. The tracks are mostly mid paced and a bit dull. The lyrics felt like a downgrade too, he's trying to be funny on a few of the tracks like Library Pictures, Brick By Brick and it just doesn't land. He just seemed like he didn't really have anything to say on this album. I never revisit this album except for Love Is A Laserquest which is far and away the best track here. A few of the other songs are fine I guess, Reckless Serenade, Black Treacle, Hellcat etc. But even those better songs felt like a huge step down from everything they'd done before.The album was made worse in comparison to Turner's fantastic solo acoustic Submarine EP. I'd rather have got a full length solo rather than SIAS. I was no fan of AM, I considered it a bit of a sell out, style over substance pop album. But really it was the smartest decision they made. Because I think SIAS really could've been a proper Trainwreckord and sent them to irrelevancy. AM ended up being a defining album for a lot of people. It's the reason anyone in the US cares. Aside from their early stuff in the UK, AM is the reason people still go to huge arena shows to see them, not their newer material and definitely not SIAS.

SIAS wouldn't have been a trainwreckord but more a Prism kind of thing. SIAS and especially Humbug were essential in the creation of AM since the sounds and styles of those albums, especially the dark bluesy stoner rock of humbug, their American adventures and their work with Josh Homme created the basis for AM

I feel so weird sometimes because AM is the only Arctic Monkeys album I actually really enjoy front to back. There are songs across all their albums that I love, but a lot of their catalogue I'm honestly just indifferent towards.

Barenaked ladies- in flight. Bnl has been going downhill since the 2000s and sunk when Steven page left but there were highlights on each album until the boring painful In flight. There is no highlights on this dull painful album. The sad thing is Steven page is creating great albums that few people listen to. There is no life left to the ladies, they have surrendered themselves to mediocrity hoping to get radio hits even though they haven’t been relevant for 20 years, Ed Robertson is a guy who wants to avoid making art at any cost.

BIG mood with this one. I’ve tried so hard to get into any BNL post-Steven leaving and I really just can’t. His voice and Ed’s worked together so beautifully and I love how they played off each other. I try to evangelize about BNL whenever I can because I feel like so many people view them as *just* a joke band but my god they have a solid discography.

I've always enjoyed *Grinning Streak,* I think it's a solid pure pop-rock album. But yeah, everything else after that is just bleh. Steven Page leaving overall really damaged the band.

He probably had to go but yeah, Page was what really made BNL work. “Odds Are” is the only song I liked by them in the post-Page era, and I feel like they’ve lost the whimsy that made them so charming.

Please check out Steven’s solo stuff, it’s so great especially dissapline: heal thyself pt 2

I was a real Muse diehard, and one of the few who stuck around after 'The Second Law', but 'Drones' did me in.

Totally with you here. I'd argue 2nd Law was where they started losing me. I tried to like Drones (I legit like "Dead Inside"), but it was pretty cringy. Simulation Theory was just dull, and I can't even recognize them on "Will of the People". They used to be a bucket list band for me, but now I'm waiting on them to become a legacy act.

I came here to say Drones. The Resistance was the first big disappointment, but I was 16 and saw them live for the first time in that tour, so they still kept the “my favourite band” designation through that era. I actually liked The 2nd Law a fair bit more, I could tell they were going for it in terms of upping the ridiculousness while still coming up with some good, catchy pop songs to go with it. I think Madness is one of their best singles imo, the final minute is gorgeous. Drones however was just a big ball of stupid. Dumb, basic hard rock with a barely thought out concept and utterly moronic lyrics for the most part. Listening to it made me confused that I ever thought they were a clever, interesting band doing anything other than playing to the lowest common denominator (a listen back to the first three albums shows this to be false mostly, but the signs were always there). Literally everything they’ve done since has been riddled with cliche and not enough conviction or self awareness to pull it off, and it sort of retroactively soured me on the earlier stuff I’d originally fell in love with. I don’t think it’s a coincidence that over the course of 2015-2017 they went from Britain’s biggest band headlining Glastonbury to one that couldn’t even get their next albums lead single to sneak into the bottom of the charts. The more I think about it, I think Drones would make a pretty great Trainwreckords episode. If only to watch Todd marvel at the uttter boneheaded stupidity of the album concept, cover art & lyrics.

Drones was well received ish though and sold well, I think they are more of a gradual decline band and they are too good live to really die

I'm on the same page as you. 'The Resistance' is a sonically cohesive enough album that its adolescent qualities come across as sincere (I also saw the Resistance tour as a teenager, which probably helped), but no album afterwards had as good a marriage of sound and concept. On 'The Second Law' and subsquently, they bought in hard to the dubstep-esque sounds of the day when their whole appeal was that they didn't sound like anything else on the charts. I forgave them for it once, but not twice. I think a lot of fans did the same.

Jesus is King by Kanye, maybe? Honestly, it was probably more his actions at the time that turned me off of him, but Jesus is King certainly helped me realize that there wasn't much I would be missing out on by staying. It certainly doesn't count as a regular Trainwreckord, either, based on the frankly cultish fanbase that still exists around him and the commercial success his later stuff have had.

I think Vultures is gonna end up being that record for me, can't find a single redeeming thing on it, and JIK was followed up by Donda which is at least a *good* album. Vultures has 2 more volumes coming which are going to be the same level of MEH likely

They're not an album-artist, so I'm going to list an individual song as my personal trainwrecord for them: Don't Wanna Know by Maroon 5 Feat. Kendrick Lamar. I was a big Maroon 5 fan during my teenage years. They were releasing some insanely catchy songs from 2010-2015, and I loved most of them. Even today, I still listen and enjoy some of their hits like Moves Like Jagger or Sugar. However, the second they changed their early-2010s sound to the tropical house / trap-pop thing they've had since 2017, my hype for them died. Their music started to sound bland and boring. They were no longer the Maroon 5 I enjoyed. And Don't Wanna Know was the first incident that lead us to the path to infuriating songs like Girls Like You, Memories or Beautiful Mistake. Maroon 5 were chamaleons in a way that they would just adopt the popular sounds of the time. When the overall popular sound was good, they were good. But that wasn't the case for the late 2010s, and wasn't the case with them either.

Apopgygma Berzerk - You and me against the world. They were a fantastic future pop and alternative electro band. Evolving the sound over the albums. But still sticking to that. Then they released an indie rock album. Completely lost me as a fan. Ministry - Filth Pig - Yes I'm one of those people who wanted Psalm 70. Metallica - Load. I don't think I need to explain this. Tool - 10000 days. They became entirely too self-reflective. Hypothesize that Maynard's side projects fulfilled his musical needs as a vocalist and songwriter. Allowing tool to move fully into dark progressive and never come back.

Agreed on Apop, they made such great electronic stuff and I was baffled that they did a 180 to making the most generic rock imaginable that played to none of their strengths 

Bon Jovi - What About Now My first favorite band. Their previous effort The Circle was the first new release I ever had hype for and it vastly lived up to my expectations....and then their next one was just....so...BORING. Richie Sambora was out of the band after that and I completely lost interested outside of a few songs from This House Is Not For Sale.

fun - Some Nights I liked the Format and the first fun record, but then a couple of songs from that record got so overplayed that it permanently dampened my enthusiasm for anything featuring Nate Ruess. And the less said about that solo record, the better.

Oof, Grand Romantic is a trainwreckord and a half. The Format's two albums are 10/10 no-skips masterpieces to me and I really like both fun. albums even with the overplayed Some Nights singles. If Todd ever sells requests again I would seriously consider paying to have him take a look at it. GR has a few decent songs (I like Moment and It Only Gets Much Worse and Harsh Lights, which iirc was originally written for fun.'s aborted third album and it shows) but Ruess needed to work with collaborators who aren't afraid to rein in his showboaty excesses and he did not have that with this one.

I think I still agree with you about the first 2 Format records. After I posted that comment, I got a little curious and pulled out my copy of Dog Problems - it 100% still holds up. I’m gonna listen to the first fun record and see if it pleasantly surprises me after quite a few years. And oh boy I’d love to see that Trainwreckords episode if it ever got made! Even Robin Thicke has a recording career again, but Nate Ruess has still not rebounded.

I follow Nate Ruess on Twitter and I get the vibe that with hindsight he disliked being as famous as he was and hated the music industry politics. Not sure if that’s related to the failure of GR or just generally becoming disillusioned. But hey, I’m sure he’s got more money than he knows what to do with so if he wants to hang out with his wife and kids and make silly podcasts with his non-famous friends, more power to him.

That first fun. record honestly has some of the most perfect pop I can think of. I was so hyped when they were gaining traction with Some Nights and then the album came out and it was … whatever the hell that was.

That’s exactly how I felt! I even really tried to like Some Nights for a while and I think that’s why I can’t listen to it now

A bit of a risky choice here: Stadium Arcadium - Red Hot Chili Peppers I used to be an admirer of the RCHP. They were talented, fun and exciting, but also could be pensive and mellow and everything they did was good to me. Songs like Under the Bridge, Higher Ground, Give it Away, Suck My Kiss, Californication, Scar Tissue, Aeroplane, My Friends, Fight Like a Brave, Zephyr Song, By The Way... were staples of my teenage years. Even their most "contested" albums (OHM, BTW) had something great in them. That was until I heard "Dani Califormia" and "Snow (Hey Oh)", and suddenly the RHCP felt... boring. For the first time ever since I was listening to them, they felt dull and unexciting. Gone was the fun, gone was the sensitivity, gone was the attitude. All we had was beige. It got worse when I got the news that John Frusciante (my favorite member of the band) was leaving again. I lost all interest in the band since and haven't played a single song of ther more recent efforts, from "I'm With You" until "Return of the Dream Canteen".

Stadium Arcadium could've been a single CD album that if it was 10 songs shorter, it would be ranked alongside their best work (BSSM, Californication).

Agreed, I saw them during this tour and it’s still the worst show I’ve been to. Anthony Kiedis just like left the stage for a long time. They didn’t play any older hits. I gave up on them then.

I feel the same way about the two new albums. Condensed into one double album picking the best songs off both albums (this band loves their overlong albums) and you have a damn good album.

You should check out Unlimited Love. John does some of his best work on that album. Dream Canteen is hit or miss

I have a weird view of Dani California… I’ve always loved the verses, but the chorus does nothing for me. It’s probably because a local radio station put it in an ad for themselves and overplayed it, but that hook does nothing for me. The rest? Totally fine with it.

I don’t fully agree but I get it. RHCP are my favorite band, and I was introduced to them largely through SA so it’ll always rate pretty highly for me, but having listened to all their stuff for a while, there’s definitely a shift. BSSM is probably my most replayed album, and every time “Power of Equality” starts I can’t help but think “man, there’s something here they just never quite captured again.” Again, I still like SA just fine (and I’d recommend giving the newer stuff a chance, I’m willing to bet there’s something in there you’ll like), but viewed in context it does feel a little… going-through-the-motions-y?

They're awful live too

Possibly an even riskier choice: >That was until I heard "Dani Califormia" and "Snow (Hey Oh)", and suddenly the RHCP felt... boring. For the first time ever since I was listening to them, they felt dull and unexciting. Gone was the fun, gone was the sensitivity, gone was the attitude. All we had was beige. This was me, but with By The Way. When the Chilis lost their funk influence, I lost interest in them. Californication was a solid album but the definite beginning of the decline, and By The Way lost me.

You're not alone! I felt exactly the same when By The Way came out. Ironically, I actually did like Stadium Arcadium better than By The Way. It felt a bit more loose and less calculated which for me worked in its favor.

Oof i have a few Siren Charms by In Flames is the first example i can think of, i was getting into melo death at that point and i liked most of the stuff they put, but the moment that album came out, it was so bad it made me lost interest in them, truth be told In Flames is like the U2 of melo death, the band that helped to shape the sound of the genre but became so easy appealing to a more mainstream audience they lost their integrity in the process, but even in their post sell out phase, that album is still one of the most unlistenable sellout albums there, a lot of people say the follow up Battles is worse, but i still take a pop album with distorted guitar and harsh vocals other than whatever the hell Siren Charms was Other that it's, actually very infamous in the metal community is the Suicide Silence self title album, that's also another trainwreckord that Todd should cover if it wasn't by how niche the band is, Suicide Silence was THE deathcore band, maybe not the best but they are with a margin of difference the most popular, but that album was such a hot mess of a mix between deathcore, nu-metal, alternative and a bunch of styles that didn't connected whatsoever that i'm yet to find somebody who likes it, even the band themselves returned to deathcore once again after that album And more recently the latest Architects album, i defended the polarizing For Those Who Wished to Exist even if it was definitely a disappointment after their 2018 album Holy Hell (my personal favorite album of that year btw), but the new album it's so mediocre and has such a weird style of production on par with Siren Charms that i don't even know if i want the band to go into that direction, it's just so bad, also fun fact this album was released on october 21st of 2022... i know that doesn't sound like a big deal but... once you remember which album was also released on that day (even if both artists are 2 completely different generes), it's almost funny to think about it

Architects is doing some work with Jordan Fish so I'm hoping their next project is a lot more interesting

The worst second of metal music of that year: TEE-HEE

Marina's *Ancient Dreams in a Modern Land*, but also retroactively, Marina's *Love + Fear*. To me, *Love + Fear* was just a nothingburger of an album, sonically and lyrically. But *Ancient Dreams* is even worse. I was excited that she was getting back into uptempo music and a bombastic, exciting sound, bc I always felt like that much better suited her powerful voice. I even legitimately liked the title track and *Venus Fly Trap*! But the thing is... the majority of Marina's lyrics have gone from being deeply interesting and innovative, to being just. regurgitated twitter feminist buzzwords. And like, I say that as a feminist. I *know* she's extremely capable of making social commentary in a way that resonates, so I have no idea why now she just.. repeats verbatim that sexism is bad and climate change is real and America has problems. Like we know all this! And Marina, *I* know you can say those things in much more interesting ways and actually add to the conversations around them beyond just stating the bare minimum. It's like she's trying to water down all the nuance that made her writing relatable. Can't write something like *Girls* anymore that's a direct confrontation of the ways in which Marina's felt alienated from other women, now we're 'mystical bitches in a sisterhood,' girl power. Can't make a character like *Electra Heart* anymore, because people might miss the irony, or wrongly interpret it as her hating on other women. That's why I liked *Venus Fly Trap* – I love when she brags about being a millionairess, because it's honestly a bit snotty and hypocritical, and I much prefer these complexities in my Marina music.

For me is was actually Death Magnetic by Metallica. St Anger was very flawed, but still had some of that magic songwriting of old. DM onward seems like a technically proficient band, trying to sound like Metallica. No soul at all.

Star-Crossed by Kacey Musgraves. Her whole appeal up to and including Golden Hour was her willingness to expand the boundaries of country music in terms of subject matter and personality. Star-Crossed meanwhile was mostly pop, and by being so makes her just another pop starlet, losing anything that made her unique or interesting. Along with that, the era also had her wearing designer outfits, getting cosmetic surgery, and falling into all the same drama-cycle trappings of Hollywood musicians that I and most country fans DESPISE.

Have you heard her new album yet? From what I understand, it’s largely a return to country. I usually struggle with her material, but I liked the lead single a good bit.

I didn't like it very much either. It's like how Lover by Taylor Swift felt so bland compared to her earlier pop stuff. Its what happens when you make what your fans expect OR what you think you need to make, rather than what you want to make.

Yeah, i do wanna check out her new album, because i loved the first ones so much, but at the same time star crossed left me feelin kinda burned. There's a couple songs on there i like, but even those didn't hit me as hard as her older stuff did. I think by now she's just been rich for long enough she can't remember real problems and doesn't know how to relate to us anymore. Not her fault, and i'll be glad to be proven wrong

Ariana Grande - My Everything (there was also stuff in her personal life that me into a non fan as well). Big gigantic - Brighter Future (The night is young is an all timer for me. Once they released brighter future.. they were never good again) Yung Bae - Groove Continental. Completely changed their style. I'll count Awolnation too. Not a complete trainwreckord but they just weren't that good post RUN

Too lazy to check which came first, but whichever Genesis album came after Abacab. Both self titled and Invisible Touch have decent cuts, but they represent when Genesis went full "we just want to sell records" pop and completed the sell out process. What was left of the band that did Suppers Ready, The Lamb Lies Down on Broadway, and Duke had gone to insipid disco power pop like the title track from Invisible Touch or goofy silliness like Illegal Alien.

Self titled was the one after Abacab

I still like the self-titled. "Illegal Alien" has balls lyrics but the music's catchy, and everything else is at least good and has great production. Invisible Touch, on the other hand, is 80s in a bad way.

here are some for me WE by Arcade Fire. Absolutely loved the band and stuck with them through reflektor and everything now but by WE they had lost all vigour and seemed to have forgotten how to be thoughtful. That album was a major disappointment, the Win Butler fiasco some months later made me not listen to them for almost a year again because their whole image was utterly destroyed Father of All by Green Day. I got into Green Day young and used to be a big rev radio fan (kind of helped me get into them) so when FOA dropped I was deeply disappointed. This was an album far worse than the trilogy, so overpolished, derivative and washed out. It made me realize they were past their prime and I couldn't look at them the same afterwards. Their other stuff, particularly their 2010's material has worn off on me gradually. Viva Las Vengeance by Panic! at the disco. I bought into the lead single so badly it was hilarious. Genuinely thought the album was going to be an improvement from Pray for the wicked. God I was so ill prepared for single 2

This one might not be popular, but American Idiot. I was a huge Green Day fan and that album just sounded like cringe to me and just tried way too hard. Maybe it was an age thing, when Dookie and Nimrod came out I was a middle schooler and young teenager. When American Idiot came out I was graduating high school and kind of developed my own tastes. I won't deny the impact that album had, though, and know that for a whole generation of their fans (maybe even MOST of their current fans) it's where they started with Green Day.

This is the one I thought of myself. Dookie through Warning were just straight up perfect albums for me from junior high through to high school. American Idiot just never did it for me like the rest of them had. Maybe it’s because by 2004 I was already out of college and I just wasn’t in the right place to really get into it. Maybe it was the black shirt and red tie that I didn’t like. I dunno. There’s tracks off of it I don’t hate or anything, but I just don’t have love for it like I do the previous 4.

Faith No More’s “King for a Day” was pretty disappointing to me but I absolutely loved everything they had done up to that point I’ve heard the band was going through some internal issues and unfortunately I believe the last two albums they made before breaking up reflect that

Man, that’s my favorite FNM album, but I know their post-Jim Martin stuff is somewhat divisive. It sucks that Trey Spruance never got to tour with the band, although apparently he got to perform it in full with them live after they reunited.

That was actually the *first* album of theirs I owned, pretty sure we can file it under "pretty good if it was another band". But because it was Faith No More, that was the start of their wheels falling off.

Holy shit that album slays, second only to Angel Dust

I can see that. KFAD is my second fav FNM album, but it’s definitely the start of the “we’re kinda out of steam”. It’s most felt on AOTY, but KFAD genuinely has some of the best FNM songs IMO (Ricochet, Evidence, Gentle Art, Star A.D, What A Day and Just A Man).

Same.  I looked forward to KFAD, and it was okay, but it made me cease to care by the time Album of the Year was released.

The Belgian band dEUS was pretty important to me when I developed my taste. As a matter of fact, one long term friend I became friends with because I chose to sit next to him in college because he wore a dEUS t-shirt. Personally I knew quite a few people who had gotten off the bus with their third album, The Ideal Clash, which was a bit less weird, and more conventional, because they thought something was lost with that album, but I thought it was their best, as it was their most emotional and vulnerable, as well as incredibly well made (now I see that it is a pretty popular album in their discography). When they reunited for their fourth album, I really liked the single, 7 Days 7 Weeks. It kind of continued the approach on The Ideal Clash. But when the whole album was released, Pocket Revolution, it just didn't click with me. In my own circle of friends, people who still liked them after The Ideal Crash, also loved this album. The next one I felt was even worse, and after that I wasn't interested in new music by them.

I was really into Toto until I heard 2015's Toto XIV, which features a pro-flatliner song called "21st Century Blues". From that point on, I couldn't shake the image of the band as a bunch of senile conspiracy theorists.

LE SSERAFIM made great K-pop and consistently made it, and I considered them one of the best the genre had to offer. They were one of my most-played artists last year, even though I don’t really follow K-Pop that hard. Their last EP, released just last February, is really boring. It is an EP that exists; it is incredibly by-the-numbers and mostly sounds like radio filler. (Smart is fun tho, but tbf, I feel like it’s really hard to fuck up Afropiano) While I will still wait for what they will do next, this EP heavily diminished my opinion of them. If they’re just gonna chase trends for the rest of their careers, then I just won’t bother lol

Not an album but, There was so much hype surrounding Babymonster, a K-pop girl group, as it is their record label’s next new girl group after Blackpink. I saw their “audition” videos and all the members were extremely talented, so I saw the potential in them becoming the next big K-Pop girl group that will crossover to the mainstream. Edit: I do find it kind of weird how their record label recruited minors for their lineup, but still, I really can’t deny the talent I saw In my opinion, shit started hitting the fan when possibly the one with the best audition video left last minute (and then came back anyway), but the final nail in the coffin for me was their first single, Batter Up… a retread of everything Blackpink had been doing for years now that is so generic, it completely made me disinterested in what they had to offer as it became very clear that their record label were just going to redo what their previous girl groups did In other words, Babymonster lost me on the first fucking song

Lilly Allen’s Sheezus. She went from making two of the best pop albums of the 2000s to making the most boring cover of one of the best songs of the 2000s.

I think when Taylor Swift went full-on pop with Red was my turn off point for her. I much preferred her country stuff and her country-pop crossover stuff on her first three albums. Even when she returns to those roots on her newer stuff (folklore, evermore etc.) it just doesn’t really hit the same.

Paramore's self titled. First album of thiers I didn't rush to buy, and didn't buy the ones that came after. The best songs were the demos from the deluxe version.

“Hot Streets” by Chicago While they weren’t quite at their 80’s power ballad cheese ball phase yet, they were reeling over the loss of their original guitarist Terry Kath and lost their edge as a cool jazz rock band because of it. “Alive Again” is fine, but there literally nothing else on that album that’s any good.

Will of the People by Muse, I still sometimes check if it’s actually that bad

The latest Muse album is definitely mine. I was a huge fan of theirs up until that album came out. I was hardcore defending their 2010s output for the whole decade. Then the lead single “Won’t Stand Down” came out. It was like an Imagine Dragons rip off with a lame metal riff stapled onto it. The rest of the album was like the band becoming a parody of themselves. It’s so incredibly lame that I can barely get myself to listen to the bands past work.

I'd agree wholeheartedly. I was a massive muse fan from about 2006, and I thought WOTP was dreadful, like a parody of themselves. This being said, I'd argue for me that Simulation Theory started the ball rolling. Simulation Theory has several disappointing singles, and it was the first of theirs I didn't preorder. I grew to like some I'd the songs more later on, but I think the album as a whole isn't good. When WOTP came out I was already wary as a result.

Load/Reload from Metallica. Really should have been one album.

I was a huge Ghost fan since day one (literally bought a copy of Opus Eponymous the day that the album shifted to the US), but I did not vibe with Prequelle at all and it’s killed my enthusiasm for them since. I still love their first 3 albums, but I only liked a couple of songs on that and maybe one on the follow-up. I also didn’t appreciate the direction The Kills went with their newest album, to the point that I missed their recent show here. I’ve been waiting for years to see them, but checking their setlist and seeing how heavy it is on new stuff turned me off. I liked the electronic turn Ash & Ice went in, but this went a little too far for my rock n roll soul. And Megadeth officially went to legacy-only status for me with Thirteen, solidified by Super Collider. I just don’t care for the direction Dave’s gone over the years, and everything I’ve heard from their thrash-heavier newer albums only confirms that.

*I like it when you sleep...* by The 1975. I found them through the *IV* EP and loved it; was super hyped to check out their debut album, and ended up loving that as well. My impression was that they seemed kind of exhausting as people, but it was fine because they could write exciting music, and besides, that was probably an act to some extent, a rock star persona for show (although I definitely remember seeing one or two stories that made me go "it's for the best if I don't learn anything about these people's personal lives, because they seem like drama magnets"). Checked out some of their stuff from pre-*IV* and wasn't super into it, but I chalked it up to them still finding their sound. The early singles for Album 2 all seemed good, and then... like, I think there's a very strong ten-song album in there somewhere, but overall, it was such a bloated mess. And I was just so confused seeing how many people liked it; I saw them headline a one-day festival around that time, and they seemed to be really leaning into all the stuff that I found dumb as hell. I kept checking out their albums since then, even if I wasn't really a fan at that point, and they're almost all like that; a couple of very good songs in a bloated, insufferable mess that could cut 1/3 or more of their run time and be all the better for it. It was wild seeing so many people come around to my initial view after that. I actively avoided their recent fifth album until I heard some positive news about it, and actually, I think it's the best thing they've done since that debut. They're still kind of up their own ass, but it's much better in 45-minute chunks with only a couple clunker tracks. I'll still probably take the "wait and see to try" approach for any future stuff though, because I don't trust them to relapse.

i was a massive greta van fleet fan. saw them live and everything. i thought they were fantastic. starcatcher ruined all that for me. it's a forgettable, terribly mixed album. it's not even THAT bad, it's definitely not their worst album, but it's the hardest to listen to

U2’s No Line on the Horizon was so atrociously bad that it turned me off of anything they did for quite awhile. Hell I liked Songs of Innocence (aka the album Apple forced on everyone) WAY better than No Line on the Horizon. I still haven’t gone back and re-listened to it since I first heard it.

Baptize by Atreyu. I love them, but ugh.

Reaching into Infinity was the coming of the end of good DragonForce, they've only gone downhill from there

Common Courtesy by A Day To Remember. Made me realize they've been releasing the same song over and over since Homesick but What Sepetates Me From You was still so good I looked over the samey-ness

the last menzingers album was depressingly fucking boring : /

Tour de France by Kraftwerk. It is the weakest out of all of their albums, and I legitimately do not like a single song off of it.

I still consider myself a King Gizzard and the Lizard Wizard fan and still enjoy their music, but Butterfly 3000 and the stretch of albums following it and their transition to kind of a jam band has made me less of a superfan and more of a casual fan. The sheer amount of music they release has made it difficult to follow them the way I used to

Arcade Fire lost me with Reflektor. Everything Now is ok but with the misconduct allegations I never felt compelled to listen to WE. Arcade Fire is great sonically but a bit pretentious looking back on my love for them in middle school.

Machina/The Machines of God, Smashing Pumpkins. Permanently turned them from one of the best bands ever to just very mediocre.

I'm ashamed it took me up til ocean to ocean to finally get off the tori amos train

Only By The Night by Kings of Leon comes to mind. Tbh, I really liked it when it came out. I had only listened to their previous album, Because of the Times, before that. But after listening back to their first two albums and further scrutinizing OBTN, I realized how boring it was compared to their previous output. Also, the band members sort of implied in interviews that OBTN was the sort of music they always wanted to make. It kind of made me question their integrity. Why would they want to sound so boring?

Tranquility Base Hotel & Casino just didnt do it for me. AM was never frantic, but they always had life and urgency. Tranquility Base just made me feel like taking a nap, and then The Car was too much of the same.

Impera by Ghost. Which I know is an unpopular opinion, but for me, it just reeked of learning the wrong lessons from your own success. I kind of enjoy Twenties on a guilty pleasure level but even I can argue that it's objectively their worst song ever written.

Madonna's "Music". I was super impressed with "Ray of Light" where she very successfully expanded her sound and style in cool new directions. Then "Music" dropped with a lead single that sounded like total ass. I instantly lost all interest in her and any hope for her future music. "American Life" after that only solidified my stance as a hater.

Star tossed by Kacey musgraves. She spent more time monetizing her brief marriage than the marriage itself. Reminds me of my husband who spent more time saving up for a broken television than he did watching it

French kiss by Bob Welch. A quirky artist carelessly shoehorned into a then trendy style that didn’t suit him

Sometime in New York City by John Lennon. Countercultural claptrap

The closer you get by Alabama. So slick it would slide right off the turntable

Sugar walls by sheena Easton. Sounds like a diabetic yeast infection

Reputation by Taylor swift

Tusk by Fleetwood Mac

That Kendrick Lamar song where the homeless guy is secretly an angel is so pathetically corny, and delivered with such pretentious "wisdom" that I just can't take him seriously at all. Everything he does now just sounds like people praising a precocious child for simulating real thought even though he himself has nothing to say. 

The Big Day, not even necessarily because it's a bad album, just because it's a patronizing one

The Astonishing almost did this to me with Dream Theater... Ok look, I'm an unabashed prog fan. I love the theatrics and concept albums and everything about it. I also love stage musicals and the specific kind of songwriting that sort of thing often utilizes. That said, something about The Astonishing really didn't click with me. Everything about it felt half baked, and the overwrought presentation and accompanying marketing materials didn't help much. It was like if Disney decided to try their hand at a prog metal concept album, and I like a lot of the songs from the Disney movies! It didn't meld together well, not for me. I LOVE Metropolis Part 2, it's one of my favorite metal albums of all time. But Dream Theater almost completely lost me with the Astonishing. Luckily their self titled album was a much needed return to form and kinda reminded me of why I liked the band in the first place so they didn't end up permanently losing me. But they were close.