It has been seven years, four “Saturday Night Live” hosting gigs, a handful of feature films and a holy matrimony to Jessica Biel since Justin Timberlake released new music.
JT took a musical break to focus on acting after his last effort “FutureSex/LoveSounds,” leaving us poor Timberfans with scant new material apart from his kooky duets with Andy Samberg on “SNL.”
On his new album, “The 20/20 Experience” (apparently he has a penchant for forwardslashes), Timberlake’s smooth crooning skills, again combined with producer Timbaland’s funky rhythms and beats, are just as strong as they were when he brought “SexyBack.”
To be honest, sexy won’t need to be brought back for a while after this album — JT’s kept it strong on all fronts and all tracks just like we knew he would.
For those who don’t have over an hour to spare, here’s the track-by-track cheat sheet:
“Pusher Love Girl”
Segueing from the sweeping orchestrated intro, this track keeps a light bounce with a thumping bass that accents JT’s sweet falsetto. The song is soulful and relaxed, setting the tone for the entire album with effortless sensuality.
“Suit & Tie” featuring Jay-Z
Arguably the most pop-centric track — and the only one with a guest artist— the first single is light and bubbles into the Michael Jackson “Off the Wall” feel with which Timberlake often dallies. The song has slight traces of “Rock Your Body” (off his first album, “Justified”), which means it’s a great track for not only radio but also secret car dancing.
“Don’t Hold the Wall”
A sharp juxtaposition, Timbaland’s tribal beats overlay Justin’s deep vocal timbre throughout this song. This shows the record’s, and Timberlake’s, musical sensuality. He switches vocally from dark and aggressive to sweet and airy. Others may imitate, but JT proves he is king on this track.
“Strawberry Bubblegum”
Exiting from the intensity of the previous track, this song is much calmer. The falsetto comes back into play heavily here, relaxed above the beeping backbeats. This song, like almost all of the others, stretches past the standard three- to four-minute pop song mark — a trait seen previously on “Let Me Talk To You/My Love” from “FutureSex/LoveSounds.”
“Tunnel Vision”
Fast-paced and thumping, this track is more sultry than the rest. Similar to the lyrical passion in “Don’t Hold the Wall,” JT professes “A million people all around, all I see is you.” Violins mixed with Timbaland’s hook-ridden beats give the song a more epic feel.
“Spaceship Coupe”
Sweet and sexy, this track has harmonized “oohs” that make Timberlake’s high pitch more pronounced. The song could come straight from a ‘70s R&B record if not for the slow, synthesized backbeats.
“That Girl”
After a faux intro to the “JT and the Tennessee Kids” big band of sorts, they launch into a horn-ridden, bass-driven slow jam. This one goes alongside the album’s opener in terms of soul — so much so that you can practically see the band swaying with shoulders bouncing in the back.
“Let the Groove Get In”
With a surprising Latin flair, this song is a straight-up dance track. Some aspects are likened to “Right For Me” from “Justified,” but this one is less hip-hop and more dance-floor.
“Mirrors”
Another radio-friendly track, the sweeping feel of this song is more pronounced with just the right mix of strings and synths. The harmonies are intricate enough to add depth to JT’s varying pitch, which is also just right. This is arguably my favorite track on the record. It takes all of the aspects of his musicality and combines them in perfect balance.
“Blue Ocean Floor”
A somber exit, Timberlake is slow to sing but just as passionate. The solemnity doesn’t trail off the record, instead it opts for a rounded-out ending. In true JT fashion, it just works. The mix of what could be contrasting elements melds together for a last track that closes out the album’s smooth, sultry circle.
