REVIEW: Robin Thicke – Love After War

Artist: Robin Thicke
Album: Love After War
Genre: R’n’b, soul
Label: Star Trak, Geffen Records

First things first, this album is far too long. Worse, it’s uninspired. It’s a nice, easygoing listen with plenty of wannabe seductive numbers but that’s just its problem – too content to rest on its laurels and regurgitate the same sound over and over again, many of its seventeen (or twenty if you count the deluxe additions) tracks end up sounding identical. It’s still good – an accomplished work and nice, light listening – but with a little more energy and invention it could have been a shorter, stellar album instead of a lengthy, tired one.

Robin Thicke is well-known for his use of r’n’b elements in a sound that has been dubbed ‘blue-eyed soul.” It’s a pleasing quality that gives his songs a smooth and refined air, as though you’re listening to something a lot classier and more seminal than it actually is. The album opens with clear enthusiasm, with opening numbers “An Angel on Each Arm” and “I’m An Animal” impressing for the most part. The first track is jazzy and animated, with a vintage style that errs on the side of hip and summery. The brass section is a commanding presence in the background and it sets an early jubilant tone. “I’m An Animal” is also joyous, showcasing the gifted Thicke’s vocals. He sings clearly and exuberantly, complementing the musical style perfectly and bringing out the brooding warmth in the instruments.

“Never Give Up” is one of the only glimpses of invention here, with the use of a climactic and momentous swirl of orchestral music not unlike a Disney score. These innocent, precocious theatrics lend the song an instant charm and one which easily endears as it continues, enlivened by the bursting eagerness with which he sings. “The New Generation” also veers away from a mood that’s predominantly amorous. It casts off the velvety romanticism of the opening songs in favour of something more urban and streetwise. A sombre sax solo leads the charge, a throbbing bassline adds further gravity, and the lyrics sing solemnly of a movement for change. It’s not quite as gripping as a song of this lyrical magnitude should be, but it does diversify the album’s sound.

The mood on Love After War is predominantly amorous, and kind of sickly so. What comes across as sultry and suave at first becomes grating after a time, with even the title track seeming a little cringeworthy. After the more rousing intentions demonstrated with “The New Generation,” it seems oddly try-hard. It is able and catchy in its own way, but not quite persuasive enough for my liking. “Tears On My Tuxedo” won’t intrude but there is a certain swaying darkness to it and a bite in its vocals. “Boring” is well named however, for this silky lothario act is by now wearing thin. It’s unassuming and lilts away softly, but doesn’t convince.

On the other hand, “Lovely Lady” spices things up with something resembling rhythm. It upgrades from the squishy love songs and adds more excitement with brisk instruments and a cleverly realised classic sound. “Dangerous” also shows potential, keeping life in the works but suffers from the odd blandness of Thicke’s vocals. His singing does, generally, suit the sound that he’s going for but many of these songs cry out for a vocal line with more presence and vitality. The track is quite endearing as it stands but it does feel reworked and would hold up better if he weren’t labouring his point throughout the entire album.

“Full Time Believer” is likeable, elegant and tasteful. The piano takes a glistening, loving lead and the simplicity of the music fits its lyrics well. There’s even a rather pleasing singalong-type section with some very understated brass instruments. “I Don’t Know How It Feels To Be You” goes on forever but the feeling articulated seems a lot more sincere than it does elsewhere. “Cloud 9” is stirring in a gentle way, and “What Would I Be?” is an effective conclusion. It sums up the overall tone of the album and features some decent hooks and pacing. It’s a nicely rounded ending that, in spite of everything, speaks very highly of what came before.

The album also features three bonus tracks on the deluxe version, two of which are a little spunkier and therefore more appealing. “Stupid Things” gathers momentum as it goes on, with a vocal guitar fashioning some real fervour. “Compass or Map” is kinder to Thicke’s vocals, creating more depth and intrigue in its music than on the main record. It’s kooky and feisty, with various musical thrills and sound effects allowing for a more adventurous listening experience.

Overall, Love After War is a silky and appealing album, but it requires some investment of time to get through and too many of its songs might try your patience. If you’re looking for something chilled and amorous to suit the festive season, Thicke is lovely to listen to and the music is carefree and relaxing. It’s just a bit too uninspired and vanilla for my tastes.

SCORE: 6/10
Review written by Grace Duffy

James Shotwell
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