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It shocked everyone when Justin Timberlake announced his comeback in January. There had been no rumours or revelations of him being in the studio recording his follow-up to 2006’s FutureSex/LoveSounds, so the news raised excitement massively.
So, would he come back with another game changer like 'SexyBack'? Not exactly. 'Suit and Tie' was an interestingly unoriginal choice for a comeback single, but it revealed everything fans needed to know about the record.
The promotional images and video alone hinted at the direction Timberlake was taking. Channelling Frank Sinatra and Off The Wall era Michael Jackson, sophistication was the overriding image.
The track has a lush 70’s soul groove with modern touches courtesy of Timbaland, who has a lot to prove himself having gone off the radar after FS/LS. Performing it live at the Grammys, Timberlake sang with a big band and a bigger light show, straight out of Vegas.
It is very much the tone of the album, enabling him to croon and get down in equal measure. Horns and strings are all over it, often supported by a deep bass groove. Jackson is a clear influence.
The lyrics on the record are often secondary to the sound, and never reach the heights of 'Cry Me A River' or 'What Goes Around'. Some tracks are filled with clichés and bad imagery, such as 'Strawberry Bubblegum' and 'Spaceship Coupe', which refer to oral sex and sex with aliens, respectively. They are saved partly by Timberlake’s falsetto, but mostly by the production.
Timbaland has set his sights high on this record, matching Timberlake by channelling Jackson producer Quincy Jones. His modern take on 70’s soul with fluttering synths and scattered beats bring a real quality touch. His most ambitious effort here, 'Let The Groove Get In', has Timberlake rallying the listener (“Are you comfortable?”) over a busy latin beat. Though not fitting with the rest of the record, it is a remarkable track that will provoke differing opinions.
As on FutureSex/LoveSounds, the tracks are long and come in parts. Seven of the ten clock in at over seven minutes, with a range of results. Sometimes the track has given all it can after four, like 'Don’t Hold The Wall' and 'Spaceship Coupe', others slow to moments of real brilliance, such as 'Mirrors' and 'Pusher Love Girl'.
This ambition is not a bad thing though, in an age where most pop music aims to emulate the previous No.1, Timberlake and Timbaland are a breath of fresh air. With no danger of them ever succumbing to the electronic dance music that has dominated the charts in their absence.
However, the shortest track on the album is also probably the best. A nod to Memphis soul, and particularly Al Green, 'That Girl' is a real groove. A single electric guitar dances around a funky horn sample and an understated beat as Timberlake declares his love for a girl, presumably his wife Jessica Biel. She seems to be the subject for most of the material here, understandably.
Timberlake is in a good place artistically, having successfully ventured into acting, he has returned and delivered a record of the standard now expected of him. With rumours of part two of the album dropping in the winter, and numerous festival appearances, expect him to dominate popular culture for the whole of 2013.
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