Justin Timberlake
Future Sex/Love SoundsGrade: B
After giving Justin Timberlake’s latest a listen, you definitely see where the “future” part comes in. For the most part, the album abandons the organic sound and exchanges it for synthesized, roboticized, beat-laded grooves. However, you can count on the former N’Syncer to maintain his status as the prince of pop and soul, though this time around, he’s gearing more towards soul. In this case, that word describes Timberlake’s music. In fact, he’s got soul to spare.
There’s definitely a maturity present on Future Sex, or at least a raunchiness that could easily be mistaken for maturity. But let’s give him the benefit of the doubt. It’s been nearly four years since Justified, his poppy and impressive debut, came out. He’s grown as an individual and an artist, even venturing into film and remaining in an evidently dedicated relationship. Therefore, even though the subject matter hasn’t gotten any heavier, the sound makes up for that. Timberlake proves that as long as the music matures, the lyrics don’t always need a call to arms or a life story. Of course, it helps to have such guests as the inimitable Timbaland and the Black-Eyed Peas’ Will.I.Am.
Future Sex is a groovefest without a doubt. The infectious single, “SexyBack,” practically begs the listener to perform the robot in front of their friends. Maybe he hasn’t brought sexy back entirely, but he certainly brings it to a more respectable position. With mainstream music steering towards over-the-top rap and melodramatic alt rock, Timberlake just might be the funkiest person out there. It’s hard not to “Go ‘head, be gone wit’ it” as Timberlake urges in the song’s chorus.
The nice thing about maturity is that it affords an artist a bit of bravery as well. “My Love,” which features rapper T.I.’s well-placed flow, proves to be an adventurous romp of loops and beats. The background scratch that rears its head during the chorus borders on the ridiculous, but it’s the right amount of cool to end up being interesting. And along with that bravery comes a little bit of swagger.
In “Sexy Ladies,” Timberlake waxes philosophic. “It might sound cocky, but is it really cocky if you know that it’s true?” Good point.
Okay, I know I’m supposed to be as objective as possible, but “Love Stone” is the highlight of the album for me: soul meets pop at its best. In the course of the song, a vocal bassline, a funk guitar showcase, and the occasional “ooh’s” and “yeah’s” provide an effective contrast to the song’s programmed sound. By the five-minute mark, the song smoothly transitions into an alluring come-down. The interlude helps the song to breathe and gives J.T. a chance to sigh at his muse.
Every song on Future Sex seems like an experiment in different ways that Timberlake can shatter his bubblegum past. Unfortunately, it doesn’t always work. “Chop Me Up” is by far the “ghettoest” track of the entire album, which makes sense since it includes an appearance by Three 6 Mafia. The song tries a little too hard to establish some street cred. All in all, the “rappearances” are surprisingly impressive. Too often, pop singers rely on rap and hip-hop artists to give their singles or songs that added “oomph.” Sometimes it works (Beyonce and Jay-Z’s “Crazy in Love). Sometimes it doesn’t (anything with Sean “P. Diddy/Puff Daddy” Combs). Luckily, all of the rappers on Future Sex help boost the songs instead of making them go bust.
Probably the biggest issue with the album is its unevenness. The splendid “Damn Girl” works its way into the second half of the album. Alas, the second half proves to be a let down compared to the rest of the album. “Summer Love” is pretty average, and the drug-themed “Losing My Way” completely lost me. However, Future Sex/Love Sounds is a solid effort and leaves you hoping that Timberlake brings sexy back again.