What's Hot

Justin Timberlake
FutureSex/LoveSounds
Jive, 2006
9.0/10, Crazy Good [scale]

FutureSex/LoveSounds

Let me first own up to saying upon first listen that Justin Timberlake’s (JT) sophomore album FutureSex/LoveSounds deserves album of the year recognition. At the same time, I have taken a step back and allowed myself to mentally understand why. JT’s debut album Justified touted a sonic palette developed with the signature sounds of the top hit makers in The Neptunes and Timbaland. While the average intelligent person would say that utilizing either production marvels - let alone both of them on the same project - would be more than enough to ensure some decent tunes, JT did more than just pull off a couple of nice singles. He attained respect everywhere seen in strong record sales and critical acclaim. Usually a successful mainstream album is recreated and repackaged, but JT did not do that on FutureSex. The sound of the album is quite different from the single-heavy debut album. Instead of commissioning both The Neptunes and Timbaland, JT just went with Timbaland for about 80% of this project. The result is a pop album that is uncharacteristically cohesive and comprehensive in sound and structure.

For some reason, Timbaland and Timberlake are all about being sexy this year and have no shame in making that clear on FutureSex/LoveSounds. From the very first haunting blares of the Timbaland-concocted synth-mixture, it is apparent that he is overwhelmed with a flirtatious energy that seems inspired by 80s music. JT does a great job of complimenting each Timbaland (and Danja) composition with his vocal work. He takes a Jay-Z approach to writing, meaning he writes nothing down. He just gets in the studio and freestyles until it sounds good. This is apparent on songs like the hit “SexyBack,” as JT focuses more on the groove than the message, using a repetitive lyric.

Chemistry is what drives this album and the Timb’ Brothers are sharing the same mortar and pestle. Timberlake trusted Timbaland experimenting with not only the sound of the album, but also the general composition of the songs. A few of the tracks are basically two songs that are masterfully sewn together by Timbaland. The transitions are nothing short of amazing on “Let Me Talk to You (Prelude)” to “My Love” and “Love Stoned/I Think the She Knows (Interlude).” It is awe-inspiring when realizing h ow effortlessly they go from one musical vibe to the next. Timbaland makes some hodgepodge pieces that are remnants of previous flavors he flexed in years past. Like on “…What Goes Around…Comes Around (Interlude)”. The backbone of the track is Bollywood strings (think: “Big Pimpin’”) layered with synthesizers that are played like modern rock guitars, which in turn makes the song sound more like a Coldplay song remixed by Timbaland than a Timbaland original. Even his attempt at making ’screwed-and-chopped’ music is not a trite mess in “Chop Me Up,” as JT brings in fellow Tennesseans Three 6 Mafia to add some hometown flavor to the record.

I would be remiss to not note the re-collaboration of JT and Will.I.Am of Black Eyed Peas on “Damn Girl”. The Peas producer/rapper provides a funky track powered by a sampled drum break that is arranged so well that an unknowing individual might assume the drums were played specifically for this tune. Will accented the drums with some simple organ and bass guitar sampled from the same song as the drum break. While the tone of the song comes out of left field with its sonic qualities in comparison to the Timbaland compositions, it is still very much in the same vein that JT was pricking with that sexy needle of his.

While the verdict is out on Justin Timberlake as a credible artist, I am standing by my belief that this will be an album appreciated by music lovers for years to come. With the fact that Timbaland, in his efforts to reinvent himself again - his modus operandi since he came on the scene in the 90s - composed a near perfect record. FutureSex/LoveSounds is a crown achievement of pop cohesiveness and comprehension, which many modern albums sorely lack.

by Hubert Sawyers III