Print Edition: April 3, 2013
Justin Timberlake
The 20/20 Experience
Justin Timberlake occupies a peculiar place in American pop culture. With origins in the ‘90s flourishing boy band “scene,” the unfairly talented and charismatic entertainer has since proven his mettle beyond just a pretty face. It’s been hard to justify hating on JT since his surprisingly compelling turn in The Social Network or his recent slew of top-notch appearances on Saturday Night Live.
All this makes it easy to forget that Timberlake is a singer, first and actor, second.
In the course of his 10-year, three-album solo career, Justin Timberlake has pivoted between strutting around like a cleaned-up James Marsters in Buffy the Vampire Slayer to shedding his bubblegum blonde image in favour of a supposedly more distinguished suit and tie swagger.
On his third album, and first since 2006’s FutureSex/LoveSounds, JT takes his “SexyBack” vision one step further in the retro soul-tinged pop vein. Most of the album’s songs feature prominent horn and orchestrated sections and groovy basslines married to sleek and modern pop production, harkening back to smooth R&B records of the 1970s from folks like Isaac Hayes or Barry White.
Also noteworthy on The 20/20 Experience is the song length. Only one song clocks in under five minutes, with the majority of these 10 tracks pushing beyond the seven-minute mark. Clearly, JT is not concerned with typical pop running times on this record, investing in deep grooves over quick-stepping pop numbers.
The result is something of a soulful jam record: unassailably dense with surprising moments of ecstatic pleasure, but predictably top-heavy, overcome by its own impossible premise.
And then there’s the lyrics.
The album reaches the zenith of its sexualized insanity with “Spaceship Coupe,” a track dedicated to “J” in which Timberlake croons to his lady friend about his two-person space coupe and their plans to “make love on the moon,” in the same couplet in which he mentions something about his “space lover cocoon.” That’s to say nothing of the Van Halen-esque guitar solo that materializes in the coda.
Welcome to the world that Timberlake lives in: an uncomplicated stream of beach-front patios, slick dance floor seduction and space age pleasure trips. It’s hardly subversive art, but there’s something awesome about the sheer scale of Timberlake’s indulgence.
But none of this would work without an armada of ear worm melodies.
“That Girl” is Timberlake at his most nostalgic, recreating the atmosphere of a southern soul concert from a bygone era. The album’s strongest track is “Mirrors,” one that dials back the suave confidence to reveal a more vulnerable singer. Set against an undeniable beatbox groove and incessant handclaps, it is a surprisingly welcome nod to his pre-tuxedo phase that finds a more mature Timberlake stumbling across the perfect balance between his new persona and old strengths.
Justin Timberlake
The 20/20 Experience
By waiting nearly seven years to release a follow-up to his 2006 multiplatinum FutureSex/LoveSounds, Justin Timberlake has drummed up an unseemly amount of buzz for The 20/20 Experience, the first of two albums to be released by the former ‘N Sync member this year. By playing hard-to-get, Timberlake shrewdly removed much of the pressure that comes along with following up a critically-acclaimed hit record, because he was able to release 20/20 on his own terms.
His performance on this year’s Grammys was also a very measured step back into the American pop music scene. Dressed to the nines in a Frank Sinatra inspired attire, Timberlake grooved along to 20/20’s first single “Suit & Tie” and album opener “Pusher Love Girl” in front of swing band. It seems as though the pop music icon is done pushing boundaries for the moment, as Timberlake has chosen the fashionable route of the dapper retro-crooner.
The most appealing part of The 20/20 Experience is the length of the songs, with Timberlake continuing the trend of FutureSex/LoveSounds, where the album becomes more than just a collection of short-lived singles. Each song averages around seven minutes in length, giving producer Timbaland the room to give each song various movements, with edgy beats, high-pitched synths and brilliant crescendos all invading the album’s inherent R&B undertones.
The themes and lyrics on 20/20 are straightforward, some critics might even say that they’re immature and indulgent. On “Pusher Love Girl” he utilizes an overused metaphor about drugs and love and on “Strawberry Bubblegum,” Timberlake overstretches the gum metaphor with lines like “I’ll love ya til I make it pop.” However, Justin’s never been a self-professed poet. Instead, he always lets the complexities of his music do the talking, something akin to Michael Jackson’s lyrically simple, but engaging “Wanna Be Startin’ Somethin.”
As intriguing as the songs on this album are, it’s the subdued closer “Blue Ocean Floor” that is the most striking, with the visceral impact of a Sigur Ros song. It’s subtle, where others are indulgent, and Timberlake is the most vulnerable here, singing, “If my red eyes don’t see you anymore / then I can’t hear you through the white noise / just send your heartbeat I’ll go / under the ocean floor.” “Blue Ocean Floor” grounds 20/20, making it both authentic and relatable.
Justin Timberlake
The 20/20 Experience
What a mistake it would have been to write this album off after a quick first listen – one done through YouTube and tin speakers. Jump a few days later to my second listen to this 70 minute-plus album and I don’t know where I was coming from.
Mind you, I came back at it with much better speakers, and really this music needs a quality system to truly appreciate it. I’ve always been a Timberlake movie fan and a music fan from a distance, and I’ll say it right now: this is an outstanding album. Call it R&B-infused, neo-soul, or whatever; it’s got something special and obviously influenced by the 1970s. With seven of the 10 tracks sitting at lengths over seven minutes, going through the album is a journey in its own right.
Starting things off is “Pusher Love Girl,” which has an interesting theatrical opening spin. One thing about the song is that it’s ultimately the one that seems to be the most fun. It also becomes obvious that Timberlake made great use of the length of the songs. Radio edit versions are likely, but when it seems the song’s coming to an end it just changes up style.
Next up is “Suit & Tie,” the first single, which was one of the turnoffs for me the first time around. But there’s a lot of that ‘70s soul here, sweet sax and Jay-Z. The sound is enticing and gets in your bones, so smooth. Then coming up a few tracks later is another one that stands out, “Tunnel Vision.” I get glimpses of Usher in his prime here. And although it’s a bit repetitive, damn if that backing dirtied vocal isn’t catchy. “Spaceship Coupe” is definitely a track for cruising, but also love making on the moon. The non-intrusive guitar riffs are a nice touch but it’s that blown speaker distortion which puts it over the top.
Ultimately, “That Girl” is my personal favourite song. It’s a little simple but warm and intoxicating, it’s a classy track. It would also be remiss to not at least mention “Let The Groove Get In” which has a pumped up Latin beat. Of course, with “Mirrors” there isn’t a lot to say but it will be remembered as this album’s song. While it’s made for the airwaves, it’s still astounding. Finally, things end with “Blue Ocean Floor” which is a slow moving, beautiful listen as you hear his light vocals over the quiet night waves until the album concludes.
In the end, I really don’t know if there are songs on there that will be hits like on FutureSex/LoveSounds, but as a whole album, it’s really an astounding quality production, lyrically and musically.
Justin Timberlake
The 20/20 Experience
Apparently when Justin Timberlake and Ryan Gosling were kids in the Mickey Mouse Club, they got into all sorts of trouble together, like stealing a golf cart and riding it around the studio. Imagine Justin Timberlake and Ryan Gosling riding around in a stolen golf cart! But I digress.
In a phrase, JT’s got the smooth sound of a jazz artist and the vocabulary of a rapper. He’s trying to bring sexy back in a whole new way – combining a neo-soul croon, electronic distortion, and the string orchestra of old-time movies. It’s a weird and funky juxtaposition that almost works in so many ways. After much internal debate, I’ve decided to give it a thumbs down.
The lingo lost me pretty quickly. I’m a fan of poetic conceits and unlikely imagery, but I think images still need to go somewhere. For example, I’m not entirely sure how “pusher love” serves as an adjective for “girl.” I think it’s a drug metaphor? JT falls a little too far into repetition, and I was kind of bored by the time he finally explained it. “I’m just a junkie for your love. I’m hopped up on it.” (So yes, it’s a drug metaphor.)
The more I thought about it, the Auto-Tuned sound and simple lyrics reminded me of High School Musical … in the ghetto. Just imagine Zac Efron singing this, and you’ll have a pretty good idea what I mean: “Hey little mama … you so fine.”
In any case, repetition is the name of the game – and I’m not just talking about catchy choruses. Instead, if you were to imagine JT singing the name of the track over and over in the exact same (albeit sexy-LICIOUS) way, you’d have a pretty good idea of this album.
By my third listen of the album, I was caught on the question of where, exactly, this style of music is supposed to fit in. The blend of elements is smooth, interesting and occasionally exotic, and I suppose it would make a good soundtrack for Bond movies and car commercials, but I’m not sure what else. The neo-soul crooning isn’t exactly fit for a dance floor, although I suspect we’ll see dance remixes hit the scene with relative speed.
Then, finally, it hit me – the crooning plus futuristic elements plus slow jazz foundation combines into the perfect soundtrack for softcore pornography.
I know that’s not what you want to hear, JT, but once I thought it I couldn’t unthink it. I’ve got images of scantily-clad women licking lollipops in my head – and now that I think of it, that’s probably what the music videos are full of.
