The Most Disappointing Albums of 2023 (Staff Picks)
These albums from 2023 have let us down, according to our staff.
The year 2023 has been filled with musical releases that carried high expectations. Yet, there comes a time when even the most anticipated albums may not live up to what fans had envisioned. Disappointment is part and parcel of the dynamic between artists and their audience; it’s a sharp letdown when the final track plays out and the realization dawns that something didn’t quite hit the mark.
Presented here are seven albums from this year that, according to our editorial team, fell short of their promise. As you peruse this list, keep in mind that music is subjective—what might be a miss for one could be a hit for another.
In Pieces — Chlöe
The music scene was abuzz when Chlöe unveiled her debut solo single, “Have Mercy,” in September 2021, and it seemed to signal the launch of a promising career trajectory filled with bold energy and a daring edge that I find particularly appealing. Now, with the release of her album, one might ask if it lived up to the high bar set by her initial offering. Regrettably, my anticipation met with a reality that fell short of those expectations. Vocally, Chlöe shines, showcasing undeniable talent and a seductive tone that hits all the sweet spots expected from an R&B artist. — Imani Raven
I was looking forward to the debut, but unfortunately, I was left underwhelmed. The piano-infused title track is where Chlöe truly excels, displaying her vocal range and emotional depth impressively. It’s a piece that deserves acclaim for revealing a more emotionally exposed facet of the artist. However, my critique stems from several aspects; notably, the production lacks innovation, seemingly tailored for mainstream radio appeal rather than breaking new ground. As for collaborations, they add a little excitement to the mix. The inclusion of Chris Brown in “How Does It Feel” falls flat, devoid of any noteworthy romantic chemistry. Future’s contribution to “Cheatback” appears lackluster and mismatched within the context of the album.
And regarding “Told Ya,” which features Missy Elliott, the blend of their styles with the production sometimes borders on uncomfortable and fails to mesh with the album’s overall aesthetic. The album’s marketing strategy proved detrimental. Opting to discard four singles prior to its release due to a supposed evolution in sound seems misguided. Retaining these tracks could have illustrated this progression far more effectively since they stand out compared to much of what made it onto the final project. — Jamila W.
The Age of Pleasure — Janelle Monáe
Janelle Monáe’s latest release trades her usual experimental flair for a more straightforward approach. Gone are the ambitious undertones that characterized her earlier work; instead, we find ourselves enveloped in an atmosphere brimming with upbeat rhythms perfect for summertime enjoyment. While the album certainly doesn’t skimp on fun, offering plenty to move to, I find it veers too close to the familiar. The tracks might blend with those yearning for the distinctive twists Monáe is known for. Despite its brevity, this similarity across songs can make the listening experience feel drawn out including myself. — Phil
Porches — REASON
The recent album by REASON presents a sonic environment that, while not abrasive to the ear, often treads familiar ground. The tracks do not necessarily push the envelope in terms of instrumental innovation or interesting themes. It appears that during the creative process, REASON had access to an outline for an album that could have been exceptional. Despite this potential, what has materialized is an offering that falls short of being the best work he might have hoped for. Nonetheless, it provides enough substance to satisfy Top Dawg Entertainment, seeking to bolster its roster, assuming they refrain from undermining his value. — Murffey Zavier
Scarlet — Doja Cat
When Doja Cat decided to confront her fanbase with a defiant stance earlier this year, it was a gamble that few artists dared to take. Yet, she asserts her preeminence without offering apologies for her forthright expression of sexuality or her commanding presence in the music scene. Doja found herself delivering an outcome closely aligned with the distinctive persona and style that have become her hallmark. Despite aiming to prove her versatility as a rapper and an artist, Scarlet ultimately placed Doja very much within familiar bounds, neither advancing significantly nor retreating from the established image that has defined her career thus far, which fell short of becoming another cash grab album. — Ameenah Laquita
And Then You Pray for Me — Westside Gunn
I’ve spun my fair share of tracks and weighed in on the greats of rap. Westside Gunn? Now, there’s a name that rings bells for crafting works that hit different—unique and gripping. Yet, when it came to his latest drop, something didn’t sit right with me. The beats had this choppy vibe, the production felt like it needed a polish, and the predictability… let’s just say I saw it coming. Don’t get me wrong; the features brought their A-game. We’re talking about cats like Stove God Cooks, Boldy James, Rome Streetz, and JID—each one laid down verses that measured up as expected. But Westside himself? His bars seemed to miss that special seasoning he usually brings to the table. You know what I’m talking about: those out-of-left-field soundbites that make you go, “Wait, what was that?” They weren’t there, and man, I missed them.
And then there’s the matter of those top-tier beats—the ones you can’t help but nod your head to—they didn’t get the justice they deserved. Plus, the whole thing strung together kind of weirdly. It’s like expecting a smooth ride only to find yourself on a rollercoaster that’s all climbs and no drops. So yeah, while I tip my hat to Westside Gunn for always bringing something fresh to our ears, this time around, I’m left hanging onto the ’skip’ button, waiting for that classic chaos I’ve come to crave from his music. — Harry Brown
Too Good to Be True — Rick Ross & Meek Mill
Too Good to Be True carries an unmistakable influence of Meek Mill, who appears to have shaped much of the project before extending an invitation to Rick Ross. The absence of Meek Mill’s solo tracks contrasts with several by Ross alone, hinting at the latter stages of their joint creative process. With beats that oscillate between gritty grandeur and cunningly smooth soulfulness, Meek Mill tackles each track with a voraciousness and a clear intent to assert his presence. However, Rick Ross seems to diverge from this approach; listeners familiar with his work might note a lack of his usual flavor. On certain tracks, there’s an air of weariness in his delivery—a departure from the energetic performances he typically delivers. Additionally, it is worth noting that the production quality across various songs doesn’t consistently hit the mark—some tracks present as if they’re yet to undergo the final polishing phase of mastering, leaving them feeling somewhat raw and unfinished. — LeMarcus
BLOCKBUSTA — Busta Rhymes
Busta Rhymes is known for his rapid-fire rhyming and imaginative lyrics. His latest album, Extinction Level Event 2: The Wrath of God, was expected to deliver this signature style with precision and focus. However, I encountered a different reality when I pressed play. This new release turned out to be an unpredictable mix that veered away from what we anticipated. The sprawling collection spans 19 tracks and lasts an hour, presenting various sounds that some might describe as erratic and puzzling. On tracks where music moguls like Swizz Beatz, Timbaland, or Pharrell took the production role, Busta’s verses seemed adrift—his usual sharp lyricism lost amidst beats that were either too accessible or too buoyant for his delivery. — Nehemiah
Busta aimed for audaciousness in his musical backdrop selection but struggled to find harmony with them. The use of current trends in samples felt misplaced rather than cutting-edge, and moments that left me in awe were scarce. With fewer instances of compelling content, BLOCKBUSTA did not rise to its ambitious claims. It stands as a curious entry in Busta’s discography—one that sought to innovate but instead puzzled its audience. — Phil
Ya'll think In Pieces is a disappointment ????? You don't know real music because CHLÖE self-produced this to perfection !