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One could sympathize with Justin Timberlake as he attempts to make a comeback after being labeled the villain in two major pop controversies. Despite the backlash from the 2004 Super Bowl incident where he caused Janet Jackson’s wardrobe malfunction, Timberlake’s career continued while she faced criticism. However, the cultural misogyny of that moment is now undeniable, evident in the way Britney Spears was treated after their 2002 breakup. She was portrayed as unfaithful and subjected to invasive scrutiny. In her 2023 memoir, she revealed that Timberlake cheated on her and pressured her to have an abortion. She also shared that she had to undergo a home procedure to avoid being seen at the hospital and that she cried in pain on the bathroom floor while Timberlake tried to comfort her with his guitar. (In 2021, he apologized to both women.) Unfavorable factors such as his 2018 album, Man of the Woods, add to the unprecedented levels of disfavor in the pop world. His return with “Everything I Thought It Was” seems more like a survival mission than a simple comeback.
Timberlake seems to acknowledge his disadvantage: significantly, he has refrained from doing any interviews, except for casual TV appearances, although he did briefly defend himself in February. After Spears expressed regret for potentially hurting anyone she cares about in her memoir and commended Timberlake’s emotionally charged return single, Selfish, he boldly proclaimed to the audience: “I want to take this moment to offer no apologies to anyone.” In a time where apologies and improvement are common language for pop stars, the concept of a genuine change in character was quite exhilarating.
The first track on Timberlake’s sixth album suggests that the album will chronicle his story in his own way. Named after his hometown, “Memphis” reflects a defeated tone as he reflects on the struggles he has faced to reach this point: the isolation, the exhaustion, the pain. Despite being told that all of this was necessary for fame and fortune, he questions if it’s truly worth it. The instrumentals of bubbling synths and a slow beat add a hint of vulnerability to the track (although some may find it hard to sympathize when he reminisces about his fixation on objectifying women). It would be interesting to see where Timberlake takes this theme, especially considering that 20 years ago he may have been just as trapped as his ex-girlfriend Britney Spears, following a playbook given to him by calculating executives. However, this is just a ploy – the rest of “Everything I Thought It Was” primarily focuses on universal topics of desire and love, with no shortage of objectification of women.
It is undoubtedly the correct decision. With little chance of regaining control of the story, Timberlake’s only option is to create high-quality hit songs. During almost half of this excessively long album, he comes close to achieving this. Two tracks produced with Calvin Harris, the chaotic “Fucking Up the Disco” and the smoother “No Angels,” put a luxurious spin on the disco sound that earned him his biggest hit in years with the Trolls anthem “Can’t Stop the Feeling.” The explicit lyrics distance Timberlake from his family-friendly image and create a far different atmosphere than King Peppy and Lady Glittersparkles. The track “Play,” co-produced by Ryan Tedder, follows suit with playful horns and a sliding chorus that mimics the feeling of sliding down a golden banister. Two later disco tracks, produced by album regulars Louis Bell and Cirkut, are not as impressive in comparison. “My Favorite Drug” is so frenzied that it gives the impression the drug in question is speed instead of, well, sex.
The seductive words are less provocative than the somber tones of “pink” and “purple” in Man of the Woods, but still over-the-top. A woman’s hips “hypnotize” the speaker in the Timbaland-produced track Infinity Sex, as she sings “pray this hotel room is insured.” The suggestive swagger is enough to make the song work. Another Timbaland track, “Technicolor,” fully embraces its lyrical theme of intense physical connection, but it’s a mature, slow-jam that showcases Timberlake’s falsetto and hints at a underlying sadness, recognizing how fleeting those vibrant moments can be. The album also includes some well-executed, simpler moments, such as “Liar” featuring Afrobeats star Fireboy DML, which aims for the global success of Rema and Selena Gomez’s hit song “Calm Down,” and their soft vocals complement each other nicely. The heart-wrenching ballad “Alone” showcases Timberlake’s emotional vocals against elegant, sweeping strings.
The album would have been better with only 10 tracks instead of 18, and some songs could have been shortened by two minutes. Timberlake’s musical comeback loses its impact after a while. The song Selfish does not fit well as a comeback single. Flame and Drown are both uninteresting and portray wounded emotions. What Lovers Do is a typical, seductive Timbaland track (with the memorable line about Timberlake always being ready for action). The final track Conditions is a tired attempt to express hope, with Timberlake singing “you are love” to his wife Jessica Biel, despite his flaws.
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The song considered to be the worst is clearly meant to be part of Timberlake’s journey towards redemption: the sugary acoustic ballad, Paradise, includes his former boyband ‘NSync, who reunited at one of his recent shows and have upcoming new music. The lyrics suggest a conversation amongst the five members, reflecting on waiting for an opportunity and questioning if it will bring the same feeling as when they were young and fearless. It seems that an innocent return is within their reach: nostalgia is resilient and Justin Timberlake will come out on top.
music
Laura spent this week listening to music.
Rephrase: The artist behind “Long Way Home” is Myriam Gendron.
The Quebecois musician’s 2021 album Ma Délire: Songs of Love, Lost and Found inspired quietly cult-like devotion. From her new record, Long Way Home’s subtly crushing tale of desertion and disappointment brings to mind Nina Nastasia taking on a folk standard.
Source: theguardian.com
