Fifth chapter of Justin Timberlake's solo career begins with explosive verse: If you know what's good... In FIlthy, the first promotional single, Justin dances on a thin line between dubstep, funk, and r'n'b and this is by no chance a representative of what is about to follow on the singer's new album. Even though Filthy does not suit you on the first listen, it is one of those essential tracks worthy of Justin's etiquette of King of Pop. And that's what he is, especially when ne works with Timbaland, Nate Danja Hills and The Neptunes.
The modus of the album is millenium nostalgia. Maybe that's why American critics rate Man Of The Woods with low marks, justifying them with Justin's lack of innovation. The album is very retro and does not reply to the call of current tropical sounds production, but you can also forget about Justin from typical club-anthems era. You won't find him here. His pop essence is still here, though, woven in funk, Americana, hip-hop, country and r'n'b. These genres have only decorative function, which is why many call the album out for being too inconsistent.
My question is - is consistency a precondition for good music? Since when is eclecticism bad? I mean, Justin Timberlake is certainly no David Bowie in perpetual transformation, but he also does not go with what's trendy. Man of The Woods is dominantly a candid, personal album of a young father. Fatherhood is a central theme of the record; you can even hear his son Silas on it.
The album also does not answer to the expectations when it comes to its guest appearances, from Alicia Keys in cute Morning Light to Chris Stapleton in subtly politic country-driven Say Something. What the album lacks are bombastic dance numbers. Timberlake opted for midtempo.
Although there are no tracks equal to Sexyback, Cry Me A River or Rock Your Body, Timberlake does not repeat himself and still remains loyal to his artistic integrity. Man Of The Woods might appear like it has no substance, but it still makes Justin Timberlake a reigning king of pop.
