Robin Thicke

Robin Thicke attempts to reinvent his signature soulful sound in Love After War with a number of tries at nuanced theatricality, but with the exception of a few tracks, the album doesn’t depart much from 2009’s Sex Therapy.

The album begins with the Motown-esque “An Angel on Each Arm,” a track reminiscent, in its instrumental range, of an Earth, Wind and Fire set. Thicke employs melodies from piano and keyboards in a buildup that introduces a more upbeat mix of drums and saxophone. This cuts the song’s initial jazzy feel, moving it toward a choppier territory that is more ’60s funk than slow jam.

“Never Give Up” best demonstrates Thicke’s newest addition to his otherwise monotonous style. The cut resembles a Broadway showtune, incorporating orchestral woodwinds, xylophones and fast-paced cello that culminate in a climactic, hackneyed chorus, “It’s never too much!/ Never give up.” Thicke briefly departs from his seductive falsetto and opts for a full-bodied voice a la Elvis that mixes well with the track’s uptempo sound.

Lil Wayne makes a short appearance in the beginning of the single “Pretty Lil’ Heart,”, one of the album’s more lazily-paced songs and most reminiscent of Sex Therapy. Thicke uses his soulful ensemble of guitar, piano and saxophone to evoke the setting of a smoky jazz club. The track sets the scene for his return to the familiar on the second half of the album, exhibiting a step back from the retro, dancey playfulness of “An Angel on Each Arm” and, more notably, “Never Give Up.”

Considering that the majority of his fan base consists of middle-aged housewives, Thicke’s stagnation might be a good thing. The album manages to include some musical elements absent from his previous records, but never threatens to alienate his target following. Thicke fleetingly proves his intention to produce something new, but Love After War never strays far from his roots.