Well, it can't all be rainbows and sunshine; sometimes, big hopes mean big disappointments, and 2013 was no different. From hip-hop legends losing step to lesser sequels, below are ten letdowns from the past 365.
To see more of our coverage of the year in music, head over to our 2013 in Lists section.
Top 10 Disappointing Albums of 2013:
Autechre
Exai
(Warp)
Exai is a record that displays Autechre's tedious obsession with certain sonic elements and offers no thematic foothold. It's rife with incredibly interesting aspects but these are then overplayed or end up meandering down cul de sacs. Autechre albums always require some effort, which in turn rewards you, but Exai is a demanding slog. (Daryl Keating)
Boards of Canada
Tomorrow's Harvest
(Warp)
A combination of substance-less padding and lack of memorable tunes dragged Tomorrow's Harvest down from it's proposed podium but that was merely the knockout blow. With six years of silence, feverish, cryptic hype, and a veritable frothing at the mouth from die-hards setting up the fall, it was near impossible to live up to its expectations. (Daryl Keating)
The-Dream
IV Play
(Universal)
While IV Play had all the trappings of a return to form for the "Radio Killa," instead listeners are treated to strip club anthems and "ratchetness" that outweigh his R&B offerings. More interested in mistimed bangers like "Tron" and "Pussy," The-Dream leaves us with one of 2013's most disappointing releases. (Jabbari Weekes)
Jay Z
Magna Carta Holy Grail
(Universal)
Jay Z continues to come up with new ways to assert his vast, entrepreneurial dominance away from the studio, but his artistry in the booth has waned steadily in recent years. Despite a few notable assists from producer Timbaland and a couple of heavyweight guests, this year's lacklustre Magna Carta Holy Grail, with Jay Z's increasingly plodding pace and largely unremarkable lyrical barbs, added more credence to the notion that the creative demands of a solo effort might just be slipping beyond the rap king's grasp. (Kevin Jones)
PARTYNEXTDOOR
PARTYNEXTDOOR
(OVO Sound)
When Drake signed Jahron Brathwaite (aka PARTYNEXTDOOR) to his OVO Sound imprint, many were hoping for the next Weeknd… or at least the next Illangelo. A talented producer and well-versed vocalist, Brathwaite somehow fails to cement his own personality on PARTYNEXTDOOR, opting to cover the same sonic, lyrical and musical territory already laid out by his more-than-capable Torontonian brethren. (Daniel Sylvester)
Phoenix
Bankrupt!
(Glassnote)
Critics and listeners alike praised Phoenix for the thoughtful precision and studio mastery of their fourth LP, Wolfgang Amadeus Phoenix. But it was those same characteristics that made their long-awaited follow-up, Bankrupt!, such a trying listening experience, ultimately lacking the immediacy of its predecessor due to its overly polished production and far too refined riffs. (Matthew Ritchie)
Snoop Lion
Reincarnated
(Vice)
Make no mistake, Snoop Lion's Reincarnated was disappointing in every sense of the word. While Snoop Dogg as Snoop Lion's love and admiration for reggae music and the Rastafarian way of life appears genuine, the abrupt genre shift lacks mastery, the fake patois is laughable and the overall project feels hollow. (Ryan B. Patrick)
Son Volt
Honky Tonk
(Rounder)
While a return to stark traditionalism was the predominant trend in Americana this year, it's an approach that Jay Farrar mastered a long time ago. Honky Tonk's classic sound exudes charm initially, but its overall laconic vibes eventually leaves the impression of a great band on autopilot. (Jason Schneider)
The Strokes
Comedown Machine
(RCA)
The enormous influence of Is This It has left The Strokes eternally cursed with unrealistic expectations. Comedown Machine's complete lack of promotion reveals a band all too aware of its legacy and, understandably, no longer concerned with such expectations. Consequently, though it's perhaps unfair, Comedown Machine serves mainly as yet another reminder of a band that once was. (Duncan Boyd)
Justin Timberlake
The 20/20 Experience 2 of 2
(RCA)
After a seven year break from music, the pomp and circumstance of Justin Timberlake's triumphant comeback album The 20/20 Experience was unfortunately tarnished by its lacklustre second half, The 20/20 Experience 2 of 2. Like scraps recovered from the cutting room floor, this second collection of songs proves why editing is a key component to recording, a lesson Timberlake has yet to learn in his decade-plus career. (Melody Lau)
To see more of our coverage of the year in music, head over to our 2013 in Lists section.
Top 10 Disappointing Albums of 2013:
Autechre
Exai
(Warp)
Exai is a record that displays Autechre's tedious obsession with certain sonic elements and offers no thematic foothold. It's rife with incredibly interesting aspects but these are then overplayed or end up meandering down cul de sacs. Autechre albums always require some effort, which in turn rewards you, but Exai is a demanding slog. (Daryl Keating)
Boards of Canada
Tomorrow's Harvest
(Warp)
A combination of substance-less padding and lack of memorable tunes dragged Tomorrow's Harvest down from it's proposed podium but that was merely the knockout blow. With six years of silence, feverish, cryptic hype, and a veritable frothing at the mouth from die-hards setting up the fall, it was near impossible to live up to its expectations. (Daryl Keating)
The-Dream
IV Play
(Universal)
While IV Play had all the trappings of a return to form for the "Radio Killa," instead listeners are treated to strip club anthems and "ratchetness" that outweigh his R&B offerings. More interested in mistimed bangers like "Tron" and "Pussy," The-Dream leaves us with one of 2013's most disappointing releases. (Jabbari Weekes)
Jay Z
Magna Carta Holy Grail
(Universal)
Jay Z continues to come up with new ways to assert his vast, entrepreneurial dominance away from the studio, but his artistry in the booth has waned steadily in recent years. Despite a few notable assists from producer Timbaland and a couple of heavyweight guests, this year's lacklustre Magna Carta Holy Grail, with Jay Z's increasingly plodding pace and largely unremarkable lyrical barbs, added more credence to the notion that the creative demands of a solo effort might just be slipping beyond the rap king's grasp. (Kevin Jones)
PARTYNEXTDOOR
PARTYNEXTDOOR
(OVO Sound)
When Drake signed Jahron Brathwaite (aka PARTYNEXTDOOR) to his OVO Sound imprint, many were hoping for the next Weeknd… or at least the next Illangelo. A talented producer and well-versed vocalist, Brathwaite somehow fails to cement his own personality on PARTYNEXTDOOR, opting to cover the same sonic, lyrical and musical territory already laid out by his more-than-capable Torontonian brethren. (Daniel Sylvester)
Phoenix
Bankrupt!
(Glassnote)
Critics and listeners alike praised Phoenix for the thoughtful precision and studio mastery of their fourth LP, Wolfgang Amadeus Phoenix. But it was those same characteristics that made their long-awaited follow-up, Bankrupt!, such a trying listening experience, ultimately lacking the immediacy of its predecessor due to its overly polished production and far too refined riffs. (Matthew Ritchie)
Snoop Lion
Reincarnated
(Vice)
Make no mistake, Snoop Lion's Reincarnated was disappointing in every sense of the word. While Snoop Dogg as Snoop Lion's love and admiration for reggae music and the Rastafarian way of life appears genuine, the abrupt genre shift lacks mastery, the fake patois is laughable and the overall project feels hollow. (Ryan B. Patrick)
Son Volt
Honky Tonk
(Rounder)
While a return to stark traditionalism was the predominant trend in Americana this year, it's an approach that Jay Farrar mastered a long time ago. Honky Tonk's classic sound exudes charm initially, but its overall laconic vibes eventually leaves the impression of a great band on autopilot. (Jason Schneider)
The Strokes
Comedown Machine
(RCA)
The enormous influence of Is This It has left The Strokes eternally cursed with unrealistic expectations. Comedown Machine's complete lack of promotion reveals a band all too aware of its legacy and, understandably, no longer concerned with such expectations. Consequently, though it's perhaps unfair, Comedown Machine serves mainly as yet another reminder of a band that once was. (Duncan Boyd)
Justin Timberlake
The 20/20 Experience 2 of 2
(RCA)
After a seven year break from music, the pomp and circumstance of Justin Timberlake's triumphant comeback album The 20/20 Experience was unfortunately tarnished by its lacklustre second half, The 20/20 Experience 2 of 2. Like scraps recovered from the cutting room floor, this second collection of songs proves why editing is a key component to recording, a lesson Timberlake has yet to learn in his decade-plus career. (Melody Lau)