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▀█████▓▌ FORSAKEN Proudly Presents ▐▓█████▀
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▓█▀▄▄ Artist : Justin Timberlake ▄▄▀█▓
▐▓▌▐█▌ Album : Futuresex/Lovesounds ▐█▌▓▌
▐▀▄██ Label : Jive ██▄▀▌
▄███▌ Genre : Pop ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2006-09-11 ██▀▄▌
▐▓▌▐█▌ Quality : 954 kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.2.1 ▀▀▄█▓
▓███ Size : 509.89 MB ███▓
▀ ▀█▌ Time : 71:02 min ▐█▀ ▀
▓▄███ Url : http://www.justintimberlake.com ███▄▓
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▄██▀ ▀██▄
██▌ 1. FutureSex/LoveSound 4:01 ▐██
██▌ 2. Sexyback (feat. Timbaland) 4:02 ▐██
██▌ 3. Sexy Ladies/Let Me Talk to You (Prelude) 5:32 ▐██
██▌ 4. My Love (feat. T.I.) 4:36 ▐██
██▌ 5. Lovestoned/I Think She Knows (Interlude) 7:24 ▐██
██▌ 6. What Goes Around... Comes Around (Interlude) 7:28 ▐██
██▌ 7. Chop Me Up (feat. Timbaland & Three 6 Mafia) 5:04 ▐██
██▌ 8. Damn Girl (feat. Will.i.am) 5:12 ▐██
██▌ 9. Summer Love/Set The Mood (Prelude) 6:24 ▐██
██▌ 10. Until the End of Time 5:22 ▐██
██▌ 11. Losing My Way 5:22 ▐██
██▌ 12. (Another Song) All Over Again 5:49 ▐██
██▌ 13. Pose (feat. Snoop Dogg) (Bonus Track) 4:46 ▐██
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▄███▌ ▐███▄
████ Give Justin Timberlake credit for this: he has ambition. He may ████
████ not have good instincts and may bungle his execution, but he sure ████
████ has ambition and has ever since he was the leading heartthrob in ████
████ *NSYNC. He drove the teen pop quintet to the top of the charts, ████
████ far exceeding their peers the Backstreet Boys, and when the group ████
████ could achieve no more, he eased into a solo career that earned ████
████ him great sales and a fair amount of praise, largely centered on ████
████ how he reworked the dynamic sound of early Michael Jackson at a ████
████ time when Jacko was so hapless he turned away songs that later ████
████ became JT hits, as in the Neptunes-propelled "Rock Your Body." ████
████ That song and "Cry Me a River" turned his 2002 solo debut, ████
████ Justified, into a blockbuster, which in turn meant that he ████
████ started to be taken seriously -- not just by teens-turned-adult, ████
████ but also by some rock critics and Hollywood, who gave him no less ████
████ than three starring roles in the wake of Justified. Those films ████
████ all fell victim to endless delays -- Alpha Dog aired at Sundance ████
████ 2006 but didn't see release that year, nor did Black Snake Moan, ████
████ which got pushed back until 2007, leaving Edison Force, a roundly ████
████ panned Shattered Glass-styled thriller that sneaked out onto ████
████ video, as the first Timberlake film to see the light of day -- ████
████ but even if silver screen stardom proved elusive, Justin didn't ████
████ seem phased at all, and his fall 2006 album FutureSex/LoveSounds ████
████ proves why: he'd been pouring all his energy into his second ████
████ album to ensure that he didn't have a sophomore slump. ████
████ ████
████ ████
████ ████
████ If Michael Jackson was the touchstone for Justified, Prince ████
████ provides the cornerstone of FutureSex/LoveSounds, at least to a ████
████ certain extent -- Timbaland, Timberlake's chief collaborator here ████
████ (a move that invites endless endlessly funny ████
████ "Timbaland/Timberlake" jokes), does indeed spend plenty of time ████
████ on FutureSex refurbishing the electro-funk of Prince's early-'80s ████
████ recordings, just like he did with Nelly Furtado's Loose, and ████
████ Timberlake's obsession with sex does indeed recall Prince's ████
████ carnivorous carnality of the early '80s. But execution is ████
████ everything, particularly with Timberlake, and if the clumsy title ████
████ of FutureSex/LoveSounds wasn't a big enough tip-off that ████
████ something is amiss here -- the clear allusion to Speakerboxxx/The ████
████ Love Below would seem like an homage if there weren't the nagging ████
████ suspicion that Timberlake didn't realize that the OutKast album ████
████ bore that title because it was two records in one -- a quick ████
████ listen to the album's opening triptych proves that Justin doesn't ████
████ quite bring the robotic retro-future funk he's designed to life. ████
████ Hell, a quick look at the titles of those first three songs shows ████
████ some cracks in the album's architecture, as they reveal how ████
████ desperate and literal Timberlake's sex moves are. Each of the ████
████ three opening songs has "sex" sandwiched somewhere within its ████
████ title, as if mere repetition of the word will magically conjure a ████
████ sex vibe, when in truth it has the opposite effect: it makes it ████
████ seem that Justin is singing about it because he's not getting it. ████
████ Surely, his innuendos are bluntly obvious, packing lots of ████
████ swagger but no machismo or grace. They merely recycle familiar ████
████ scenarios -- making out on the beach, dancing under hot lights, ████
████ acting like a pimp -- in familiar fashions, marrying them to ████
████ grinding, squealing synths that never sound sweaty or sexy; if ████
████ they're anything, they're the sound of bad anonymous sex in a ████
████ club, not an epic freaky night with a sex machine like, say, ████
████ Prince. But Prince isn't the only idol Justin Timberlake wants to ████
████ emulate here. Like any young man with a complex about his ████
████ maturity, he wants to prove that he's an adult now by singing not ████
████ just about sex but also serious stuff, too -- meaning, of course, ████
████ that drugs are bad and can ruin lives. Like the Arctic Monkeys ████
████ deploring the scummy men who pick up cheap hookers in Sheffield, ████
████ Justin has read about the pipe and the damage done -- he may not ████
████ have seen it, but he sure knows that it happens somewhere, and ████
████ he's put together an absurd Stevie Wonder-esque slice of protest ████
████ pop in "Losing My Way," where he writes in character of a man who ████
████ had it all and threw it all away...or, to use Justin's words, ████
████ "Hi, my name is Bob/And I work at my job," which only goes to ████
████ show that Timberlake lacks a sense of grace no matter what he ████
████ chooses to write about. ████
████ ████
████ ████
████ ████
████ Graceless he may be, but Timberlake is nevertheless kind of ████
████ fascinating on FutureSex/LoveSounds since his fuses a clear ████
████ musical vision -- misguided, yes, but clear all the same -- with ████
████ a hammyness that only a child entertainer turned omnipresent 21st ████
████ century celebrity can be. Timberlake yearns to be taken ████
████ seriously, to be a soulful loverman like Marvin Gaye coupled with ████
████ the musical audaciousness of Prince, yet still sell more records ████
████ than Michael Jackson -- and he not only yearns for that ████
████ recognition, he feels entitled to it, so he's cut and pasted ████
████ pieces from all their careers, cobbling together his own ████
████ blueprint, following it in a fashion where every wrong move is ████
████ simultaneously obvious and surprising. There is no subtlety to ████
████ his music, nor is there much style -- he's charmless in his ████
████ affectations, and there's nothing but affectations in his music. ████
████ At least this accumulation of affectations does amount to a ████
████ semblance of personality this time around -- he's still a slick ████
████ cipher as a singer, yet he is undeniably an auteur of some sort, ████
████ one who has created an album that's stilted and robotic, but one ████
████ who doggedly carries it through to its logical conclusion, so the ████
████ club jams and slow jams both feel equally distant and calculated. ████
████ There is, however, a flair within the production, particularly in ████
████ how foreign yet familiar its retro-future vibe sounds. ████
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