Whatever all the sheepskin and heritage talk promised — a manifesto on manhood, marriage, and intimacy; a megastar stripped back to his roots — isn’t really what Woods delivers. Instead it’s a grab bag of styles and sonic mood boards.
Parts of Man of the Woods are his most exploratory music in years, whether it's the skippy, juddering avant-funk or making meaningful modern countrypolitan without sounding like a disco ball in a Solo cup. It's not perfect, but you can't raise a barn without getting your hands dirty.
Unfortunately, Man Of The Woods’ thematic depth hasn’t quite caught up to the rest of his ambition. It’s not a fatal flaw, but it does make for a record that’s not quite as transcendent as it was built up to be.
Bad timing for his fifth solo album, Man of the Woods, a funky, country-laced experiment that’s not nearly as bad as its already damned reputation suggests. Though the lyrics might be.
Ultimately the album is three or four songs too long, but Man Of The Woods is rarely less than entertaining. Too slick to be a genuine man of ‘rough’, Timberlake nevertheless continues to lead the way in his field, even if he does so without consistently reaching the greatness he so clearly strives for.
Man of the Woods pitches unevenly between town and country, with folky campfire songs about the joys of nature arranged around electronic rhythms and electro funk. The two strains don’t really get along. When it’s bad, it’s cringe-inducing.
With his fifth studio album, Timberlake isn’t re-inventing the wheel, but he solidly continues to experiment with R&B, funk, pop and soul, with Americana creating an interesting layer. Man of the Woods does make certain that Timberlake will never stop challenging himself to enter into new territory.
Add this to Taylor Swift’s recent Reputation as a surprisingly unhandsome contribution from a great pop star.
Man of the Woods is a bland exercise in the monogenre; its rustic forest scene is made of Astroturf and PVC plastic.
Immaculately produced and performed, it's hard to imagine Man of the Woods not being a hit, its tracks a steady stream for playlist fodder. But sound and feel are no substitute for soul.
Man of the Woods, barely able to imagine a future without its self, (always) anticipates a tomorrow with the loves that keeps it moving. It is an audacious yet deeply flawed document of thens and nexts, a hope for fuck and a shrug at real resistance, a prayer to a child and an inquiry into hoping.
Loosely inspired by his Southern upbringing but recorded primarily in Los Angeles, Man of the Woods resembles the soundtrack to a late-evening variety program that moves across departments of a high-end outdoor recreation outfitter.
Previously Timberlake has confounded expectations, both in his solo work and even as far back as his boyband days as resident heartthrob in NSYNC. But Man of the Woods is stuck in the past; guilty of basically being a JT nostalgia-fest, a compilation of familiar and safe tracks that encompass all the stuff that the boys think you like Justin Timberlake doing.
To summarise, Man of the Woods is an astoundingly poor, inconsistent, and sloppily constructed outing from an artist whose defining feature has been his ability to cleanly reinvent his image.
It’s remarkable how few ideas are contained within this hour-plus Blue Ridge Mountains mood board of an album. Man of the Woods is a misstep large enough to merit relitigating Justin Timberlake’s status as a pop superstar.
His latest album, portrayed dramatically as a grand return – as well as some ambiguous, imagined “return to his roots” (sigh) – Man of the Woods, could more accurately be titled 'What Happened?: The Album'.
While Timberlake can't be faulted for wanting to try something genuinely new this far into his career, the laziness of the productions and overall misguided lyrics make for an awkward fit.
Man of the Woods is not merely his worst but quite possibly the worst statement by a major pop star this decade.
Someone in the comments said this was worse than the new Fall Out Boy album...
I thought they were joking...
Say Something is clearly the standout with its good pop hook. Filthy is OK but lacks a big chorus or strong vocals. However the rest of the album is overlong, with repetitive and fairly boring musical ideas that really didn't need to be extended past 3 and a half minutes. JT trying to act down to earth and "real" because he had a child feels forced, and the interlude into Flannel is cringey. You feel a man's shirt protects you is like his skin? It's literally just fabric but OK. Young ... read more
Finished my First Listen. With this album there is a lot of confusion going on with Justin's ideas and execution, there is an identity crisis that is present throughout. Only Say Something is good but it isn't worth it listening to the rest of the album to get there.
1 | Filthy 4:53 | 53 |
2 | Midnight Summer Jam 5:12 | 67 |
3 | Sauce 4:05 | 55 |
4 | Man of the Woods 4:03 | 40 |
5 | Higher Higher 4:18 | 63 |
6 | Wave 4:24 | 42 |
7 | Supplies 3:45 | 40 |
8 | Morning Light 4:03 feat. Alicia Keys | 52 |
9 | Say Something 4:38 feat. Chris Stapleton | 77 |
10 | Hers (Interlude) 1:01 | 37 |
11 | Flannel 4:49 | 36 |
12 | Montana 4:39 | 66 |
13 | Breeze Off the Pond 4:11 | 60 |
14 | Livin' Off the Land 4:53 | 59 |
15 | The Hard Stuff 3:15 | 48 |
16 | Young Man 3:45 | 41 |