In Sept of ’91, the Dallas group Nirvana launched Nevermind, and the claw was in the coffin of the Superstrat. Traditional and neo-vintage was in. Reissue Strats and Les Pauls were in. Nobody desired (or needed) a double-locking Floyd Increased.
In a nice similar to its indirect statement of the Superstrat in its content on Strat-mania at the starting of the ’80s, in ’93 Instrument Gamer solemnly requested, “is destroy dead?”
Well, of course, loss of life and claws are exaggerations. Shred did not die. It just went returning subterranean. And the Superstrat, while ceding its organological popularity to other types, receded into a market as an continuous (but not ubiquitous) choice in guitar firmament.
Still, the Superstrat trend of the ’80s is a amazing section in guitar record that is still not completely valued, although as more and more guitar lovers in their 30s come on the internet, anticipate them to get more of their due in the future. For those mature people who first got enthusiastic about “vintage guitars” decades ago, their first equipment were probably Harmonys, Kays, Danelectros, and Teiscos, and their goals were for classic Gibsons and Bumpers.