Justin Timberlake truly set the bar high when “The 20/20 Experience” arrived in 2013 with standout tracks like “Suit & Tie,” “Pusher Love Girl,” and “Strawberry Bubblegum.” The 43-year-old has been a trailblazer in transcending pop and R&B since his 2000s run with producer Timbaland. Now, the pop star is embarking on a different creative path. A new chapter of acoustic and introspective pieces distinguished his last album, 2018’s “Man of the Woods,” inspired by intimate memories of Tennessee, his wife, and their two sons. JT’s sixth studio album, “Everything I Thought It Was,” expands on this newfound sound — a sound that admittedly flopped with fans used to the former NSYNC star’s vibrant, soul-filled beat selections and more complex love songs. On this latest album, there are more dance-inducing tracks, but overall, the heart of the album still seems to lie close to home, where he appreciates intimacy more than the chase of a hit record. “So please, if you’re penning my eulogy, just say I tried/ And that’s word to Phineas, Jess, and Si,” he says on the opening track “Memphis,” where he faces the uneasy conversations of life’s mistakes and the reality of death. The message is clear, but the simplistic production and awkward rap break fall flat.
There are quite a few points on the album that plateau, like the ballad “Technicolor.” Reverbed vocals and a steady one-two drum kick don’t seem to cut it and leave the listener wanting to be entertained. The same can be said for “Love & War,” a solemn track more fitting for the soundtrack of a “Love Is Blind” transition scene. It’s great to see the NSYNC boys back together on “Paradise,” and “Alone” carries a beautiful piano note, but, again, both fit into this category of not knowing what to do with the song except enjoy the fact that Justin Timberlake can express the more hidden sides of his music. These low points do underscore the highlights of the album, like “Infinity Sex,” featuring a groovy bassline, inviting chords, and immaculate vocals from JT that ignite the dance floor. Unlike “Man of the Woods,” this album features more thumping 808s and movement-fueled selections rather than actual think-pieces. “Imagination” teeters between commercial pop and genuine fun house music. “F**kin’ Up the Disco” isn’t so much disco as it is house. Thankfully, it doesn’t sound as commercial as “No Angel,” which could be the backdrop for a cheesy Target ad. “My Favorite Drug” feels more authentic as JT goes high soprano over fast-paced drums and escalating piano chords. The call-and-response and breakdown at the end only add to the track’s appeal.
“Everything I Thought It Was” isn’t short of sultry R&B tracks like “What Lovers Do,” where JT interchanges heartfelt sentiments amidst distinct Timbaland ad-libs and intriguing percussion. It opens with a funky four-count beat easily distinguished as being produced by his longtime friend and collaborator. “Not a distraction tonight, giving you my undivided,” he sings above synths and popping drums. “Drown” is mixed and mastered well enough so that Timberlake harmonizes perfectly with his own background vocals. Crushed drums and misty vocals make for a blast from the 2000s past. “Conditions” features a comforting bass, clap, and coddling acoustic. His pitch is in key and the lyrics are relatable: “If I lose myself and I go missin’/ Make a couple hundred bad decisions/ Do some shit I know won’t be forgiven/ Could you love me under those conditions?” he asks an imaginary lover. The track could serve as an interlude with a feel-good essence that’s palpable. Undoubtedly, the most obvious veer from his trodden path is the Afrobeat selections on “Everything I Thought It Was.” Over the last few years, the funky rhythms of the popular Nigerian art form have taken America by storm and have been a subject for experimentation for non-Afrobeat artists. It’s a surprise to see the star perform his own take on “Liar,” where his vocals blend well with Nigerian singer-songwriter Fireboy DML, which serves as a good co-sign and maintains the track’s authenticity.
“Flame” also features an Afrobeat flair: “Remember, ‘member, ‘member when you said/ You’d love me ’til I die, love me, love me ’til I die.” The repetition, shifty high hats, and the distinct softness of Justin Timberlake’s voice pair well to create a suitable mimic of true Afrobeat selections. “Everything I Thought It Was” seems to be another branch in this new creative tree Justin Timberlake has planted. Whether he planted it for himself or for fans is not too clear. The album’s not a timestamp or anything remotely as riveting, but it can attest to how the singer’s imagination goes beyond pop and R&B. Ironically, though, the high points on the album are the songs that sound like old JT. This isn’t to say the new creative path he’s on won’t sprout new favorites for new fans and new generations, but for longtime fans, it’s hard to see how this will have any replay value.
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