HAD a hit? Enjoying the money and blowjobs, but feel it does not adequately reflect who you are as artists? Then record your next album in your own colon, like these:
Blur by Blur, 1999
Made rich men by faux-Cockney anthems but beaten in the Britpop wars by Oasis, Blue felt they’d earned the right to tit about in a Reykjavik studio then release the aimless noodling and see what happened. The singles had tunes, but the rest of the formless jams made you yearn for the grating oompah posturing of Country House.
Tranquility Base Hotel & Casino by Arctic Monkeys, 2018
After a decade of beautifully observed kitchen-sink vignettes and success, Alex Turner was bored with it. As a nice change, his band recorded an entirely unrelatable album of mock-grandiose lyrics over a parody of 60s lounge jazz. Then, because that didn’t quite lose them all their fans, they did another one the same but worse. That did it.
Their Satanic Majesties Request by The Rolling Stones, 1967
They were the cooler, edgier Beatles, neck-and-neck for chart domination. Then the Stones threw it all away with an album of hippy twaddle containing all the studio wankery of British psychedelia but without any of the charming whimsy or the tunes. Thankfully the sensible influence of Bill Wyman prevailed thereafter, and they did what they were good at.
Adore by the Smashing Pumpkins, 1998
Never far from their arses at the best of times, Billy Corgan responded to becoming one of the biggest rock acts in the world with an album combining folk with electronica to capture both ‘the ancient’ and ‘the future’. Nobody really liked it and it confirmed his view he was a doomed, useless loser whose fans were braindead philistines, so everyone was happy.
Tusk by Fleetwood Mac, 1979
After recording Rumours, an album so popular your Gen Z cousin is vibing to it even now, the Mac naturally followed it up with a double-album of experimental weirdness including home demos and a marching band. After which, as is traditional, everyone f**ked off to do solo albums before reforming to do 80s soft rock for tax reasons.
Kid A by Radiohead, 2000
Desperate to shake off the trappings of commercial success, the boys released an idiosyncratic record full of cut-up vocals, free jazz, and entirely devoid of soul. Sadly, the attempt to slink back into obscurity backfired spectacularly when, with crushing inevitability, the public lapped it up. ‘Sometimes you’re too big to fail,’ sighed Thom Yorke.