After Justin Timberlake was mercifully liberated from both the embarrassment of *NSYNC and all attendant boy-band stigmas, it became clear, in earnest, that he was not only an artist of pomp and style, but one of undeniable skill. On his hyper-successful debut Justified (2002), Timberlake combined endlessly danceable grooves with more soulful and subdued numbers to create an album that was infectious and instantly liked by countless fans. With its romping beats and lucid falsetto, "Rock Your Body" paid homage to "Off the Wall"-era Michael Jackson and won over many club devotees. Similarly, "Cry Me a River," Timberlake's jaded response to Britney Spears' philandering ways, garnered critical acclaim and helped Justified earn several Grammy nominations.
Although sterling talent was on display, Justified lacked many enduring qualities. Its cheeky innocence (best exemplified on songs like "Senorita" and "Let's Take a Ride") slightly hampered the whole effort. After multiple listens, various tracks would backslide from a sense of mischievous fun, revealing their inconstant appeal.
However, on his follow-up FutureSex/LoveSounds, Timberlake seeks to shed himself of conventional pop trimmings and craft a sound that is more challenging, enigmatic and stylized. In a recent interview with reporters in Paris, Timberlake freely admitted his soaring ambitions for the album, maintaining that it would serve as his "platform to push the sound of pop music." In this tasking attempt, Timberlake greatly succeeds. The twelve new tracks feature both meticulous electronica arrangements and stripped minimalism. But most everything is awash in the kinetic flair and swaggering poses that define Timberlake. Though at times unwieldy, FutureSex/LoveSounds balances its endearing bombast with boldly self-assured talent and unpredictable music patterns.
The album's first half witnesses perhaps its finest moments. On the opening title track "FutureSex/LoveSounds," Timberlake's hushed, echoing vocals navigate through a rhythmic blend of wavy synths and marching bass beats. All the while, his machismo shines through brightly with such unambiguous lyrics like "See daddy's on a mission to please" and "But can you make it hot for me?" Here, the artist is truly baring his illicit nature. The chorus, however, offers the track's most thrilling segments: lavish, faux-orchestral arrangements rise and surge as Timberlake reasons that his mad game must be attributable to his "future sex love sounds." It's a stunning opener whose audacity is brilliantly exceeded by the follow-up "Sexy Back." This single marks the irrevocable transition of Timberlake from a crooning pop star to an artist brimming with sexuality and even raw carnality (a la Prince). Set to an electric, gyrating buzz, Timberlake eschews his typical falsetto delivery and, aided by producer Timbaland's complementary backups, proudly proclaims his lusty intentions: "I'll let you whip me if I misbehave" and "If that's your girl, better watch her back." It is undoubtedly Timberlake's edgiest outing — something also heightened by his use of "motherfucker" in calling out his outmatched rivals.
With Justified, certain critics reluctantly acknowledged the skill of the ex-boybander's sleek sound but then qualified this by asserting that it was more a consequence of talented producers than real innate ability. The Neptunes, Timbaland and P. Diddy each participated in that work and were unquestionably instrumental to its laudable points. But, simultaneously, Timberlake's distinct touch also permeated the album's poppy sonics.
A comparable dynamic is at play on FutureSex/LoveSounds. The ultra-prolific Timbaland adroitly fulfills his role as the perfectionist magician behind the advanced sound. On "My Love," Timbaland begins with an amalgam of bells, skipping beats and disparate vocals, which eventually terminate in a shifty segue into the heart of this emotive song. Here, Timberlake effects genuine soulfulness with his escapist lyrics about marriage and romantic trysts. And T.I. offers a solid rap part to boot. "My Love" may symbolize the high point of both Timbaland's and Timberlake's careers.
"My Love," "Sexy Back" and "FutureSex/LoveSounds" alone could have comprised a worthy sophomore effort. But Timberlake's boundless self-demands called for greater consistency. Excluding several forgivable missteps, the second half surprisingly delivers as well, albeit not with the same cocksure panache of the first.
"Damn Girl" is a MoTown-inflected nostalgia trip that summons Curtis Mayfield, Michael Jackson and even the Parliament Funkadelic. Its sliding bass and back-alley drums conjure up the breeziest groove.
The Rick Rubin-produced closer "Another Song (All Over Again)" finds Timberlake at his most mature. This introspective meditation on loss and reconciliation gracefully forgoes the ostentation that typified previous numbers to make a ballad both subtle and stirring.
If not for throwaway tracks like "What Goes Around … Comes Around," a lazy retread of the untouchable "Cry Me a River" and the ghetto sleaze stomp of "Chop Me Up," FutureSex/LoveSounds could have been a damn near perfect album. As it stands, Timberlake and his fervent fan-base will have to content themselves with a boldly crafted, provocative work that augurs well for his innovative future.
Grade: 4 out of 5
