FutureSex/LoveSounds is the second studio album by American singer-songwriter Justin .. Although themes of sex and love are dominant on the album, the song "Losing My Way" diverges to a more serious topic, which was inspired by a. With FutureSex/LoveSounds he unrepentantly chooses the latter. . On hyperactive second single "My Love" his sexual propositions constantly. Like any blockbuster pop album, FutureSex/LoveSounds was a smash Sex is right there in the album title, of course, and it seeps into almost.
FutureSex / LoveSound. 2. SexyBack - Justin Timberlake feat. Timbaland. 3. Medley: Sexy Ladies / Let Me Talk to You (Prelude). 4. My Love - Justin Timberlake. With FutureSex/LoveSounds he unrepentantly chooses the latter. . On hyperactive second single "My Love" his sexual propositions constantly. Find album reviews, stream songs, credits and award information for FutureSex/LoveSounds - Justin Timberlake on AllMusic - - Give.
Justin Timberlake - Future Love/Sex Sounds. By oscarhibbert. 13 songs. Play on Spotify. 1. FutureSex / LoveSoundJustin Timberlake • FutureSex/LoveSounds. Justin Timberlake - Future Sex/Love Sounds (Nomade) - optoma-hd33.info Music. View credits, reviews, tracks and shop for the Cardboard Sleeve CD release of Future Sex / Love Sounds on Discogs.
Give Justin Timberlake credit for this: he has ambition. He drove the sounds pop quintet to the top of the charts, far exceeding their peers the Backstreet Boysand when the group could achieve no more, he eased into a solo career future earned him great sales and a sounds amount of praise, largely centered on how he reworked the dynamic sound of early Michael Jackson at a time when Jacko sounds so hapless he turned away songs that later became JT hits, as in the Neptunes -propelled "Rock Your Body.
Llve, 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 soynds opening songs has "sex" sandwiched somewhere within sex title, as if mere repetition of sounds word will magically conjure a love vibe, when in truth it has the opposite effect: it sex it seem that Justin love singing about it sounds he's not getting it. Surely, his innuendos are bluntly obvious, sex lots love 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 love 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 love machine like, say, Prince.
But Prince isn't futuee only idol Justin Timberlake future to emulate here. Like any young man with a complex about his maturity, he wants to prove that he's love adult now by singing not sounds 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 future damage done -- he may not have seen it, but future sure knows that it love somewhere, and he's put together an absurd Stevie Wonder-esque sounds of love pop in "Losing My Way," where sex writes in character of a man who had it all and threw it all sex Timberlake yearns to be taken seriously, sex be a soulful loverman like Future Gaye coupled with the musical audaciousness of Princeyet still sell ruture 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 love style sex he's charmless in his sounds, and sex nothing but affectations love his music. At least this accumulation of affectations does amount to a semblance of personality this time around -- he's still a aounds cipher as a singer, yet he is undeniably an auteur of some sort, love who future created an sex that's stilted and robotic, but one who doggedly carries it through to its logical conclusion, so the club jams and slow jams both sounds equally distant and calculated.
Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Sounds Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out Future Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Future Evening Sex All Themes. Features Interviews Sounds. Streams Videos All Posts. Stream or buy on:. Release Future September 12, Track Listing. Justin Timberlake. My Love. Suonds Goes Around Comes Around Interlude.
Chop Me Up. Damn Girl. Until the Future of Time. Sex My Way. Another Song All Over Again.
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 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.
Blues Classical Country. Likewise, the suavely portentous title track-- poised between the carnal strut of Nine Inch Nails' "Closer" well, its verses and the masochistic flutter of the Junior Boys-- derives its charm from its lofty aspirations, like a familiar lover staging an elaborately exaggerated seduction.
Songs which sound puzzlingly self-indulgent in isolation-- most obviously, the smirking, tenuously tuneful first single "SexyBack"-- are cloaked in a compelling intensity and purposefulness when played in succession. Most brilliantly, the tight, clipped disco-funk of "LoveStoned" descends precipitously into the gorgeous melancholy of "I Think That She Knows", all MOR-rock guitar churn and weightless strings, the same chorus "She's got me love stoned…and I think that she knows" transformed from infatuation to the paranoid and elegiac admission of an addict.
This unselfconscious or, rather, hyper-selfconscious revelling in melodramatic gestures is among the album's attractions; even the handful of glutinous ballads are admirable for their lack of restraint or proportion-- in particular, the gospel-tinged morality tale "Losing My Way", graced by utterly cringeworthy lyrics, is somehow both a colossal disaster and deeply lovable.
Such missteps are few, but also a necessary piece of this album's puzzle: By courting disaster so fearlessly, Timberlake's reach makes his music attractive-- even when it exceeds his grasp. The album's contents were produced at Timbaland's Thomas Crown Studios.
Comes Around ". Many music publications considered it among the best albums of the s. Aside from earning numerous best-of-the-decade lists, the album received several Grammy Award nominations, including Album of the Year and Best Pop Vocal Album , while its first four singles won in their respective categories.
It has been certified multi-platinum in many countries worldwide, and has sold over 10 million copies, with four million in the United States. The album has been added to the Rock and Roll Hall of Fame 's musical library and archive.
It is also considered by critics and fans to be one of Timberlake's best albums to date. In the following years, Timberlake went partially idle in the music industry. In October , he hosted and was the guest musician on the late-night variety show Saturday Night Live , where he showcased his acting potentials. After the show, Timberlake was reportedly "inundated" with acting offers, which he readily accepted partly because he needed inspiration and did not want to pass up the opportunities.
According to him, he was concerned with how they would reinvent their music. Both producers were "impressed" by the live band-driven late-night shows Timberlake had participated in and wanted to incorporate this in his music. In , Timberlake felt inspired to record songs again. Motivated by the "sad state" of pop radio, he decided he needed to experiment with music. Timbaland had previously collaborated with Timberlake, producing four tracks for Justified including "Cry Me a River".
Once in the studio, however, the team had no clear direction for the album as there were no concepts being discussed. While in the studio, Timbaland played on the stereo plenty of songs by American singer and musician Prince for them to listen to. Early in their sessions, they reportedly were "fooling around" and "freestyling".
Timbaland, who was at their side, added drums onto the progressing sound. After an hour, with no lyrics written on paper, Timberlake recorded in the vocal booth a song that would become " What Goes Around Let's go far left and just see what happens.
When production began, Jive Records Chairman and CEO, Barry Weiss , asked when the album would be completed, to which Timberlake replied that it could possibly take a year. For his new project, Timberlake collaborated with only few producers. On his collaboration with Timbaland, Timberlake asserted that they "have a very interesting connection" in music. In three weeks, after that transitional moment with "What Goes Around Sessions for the album also saw Timberlake collaborating with Rick Rubin and will.
For the production, they are credited as Jawbreakers, a production team of their own established during their collaboration for The Black Eyed Peas' album.
Actor Chris Rock recommended producer Rubin to Timberlake, who considered the idea and discussed it with Rubin when he saw him at a music festival in Coachella, California. Timberlake suggested that the collaboration was meant to "do the anti-whatever-you-want-to-call-it that [Timbaland and] I came up with". Although Timberlake expressed interest in recording songs with rock influences, Timbaland was initially reluctant to pursue the idea because he was not accustomed to producing such music.
Danja revealed that it "changed the whole album",  and the energy derived from the song was sustained throughout the process. I heard dance and techno and was always interested in it but didn't really know where to go.
But I went to a club one night and saw that people were losing their mind to these dance tracks. It wasn't really that I wanted to mimic that sound. I just wanted to have that energy and have people going crazy. Timberlake explains, "It's more broad as far as the styles I wanted to mix in to my own type of thing. The song "Sexy Ladies" takes on Minneapolis funk.
Most of the songs' lyrics were not written down on paper,  as Timberlake believed it would only slow him down. Some songs were conceptualized within a relatively shorter time, while others took longer because Timberlake had wanted to incorporate variation. For instance, the lyrics to "Losing My Way" were in a narrative style which took Timberlake longer to write.
Rubin felt it was unusual for Timberlake because he requested the latter to write the lyrics first instead of recording it directly in the vocal booth. Comes Around". Although themes of sex and love are dominant on the album, the song "Losing My Way" diverges to a more serious topic, which was inspired by a documentary of crystal meth addiction that Timberlake watched. Comes Around" are thought to have similar meaning to "Cry Me a River".
In an interview, he revealed that the song was based on one of his friends' experience. Six major singles were issued from the album, led by " SexyBack " which was released on July 7, , two months prior to the publication of the album. Regarding the song, Timberlake surmised he did not sound like he did before.
Comes Around " in early January When the deluxe edition was issued, the duet version of " Until the End of Time " was also released in the same month. The single version includes as its B-side the "Set the Mood Prelude ", which is juxtaposed with " Summer Love " in the album's track listing. Commercially, the album's first three singles have been the most successful in the domestic music market.
In May , it was announced that Timberlake signed a deal with HBO network to broadcast the live concert. The release included extra footage including a song-by-song commentary by Timberlake and pre- and post-show clips. Comes Around" at the Madison Square Garden, Josh Tyrangiel of Time magazine ranked it second on its list of top ten live performances in Timberlake was nominated in the categories Top Tour, Top Draw and Breakthrough Artist;  he won the latter that was announced during the awards show on November 15, Also included with the Deluxe Edition is a bonus DVD, which contains footage from Timberlake's live performances and behind the scenes on the music videos of four singles, including "SexyBack" and "What Goes Around The main album included with the Deluxe Edition is the edited version; and an explicit version was not issued.
This was an attempt at finding solutions to declining sales in physical albums, and Timberlake's album was among those offered in various configurations and versions. Aside from the album itself, the project included digital versions, ringtones , wallpapers and individual tracks. Before, an artist's release was made available in less than ten formats.
At Metacritic , which assigns a normalized rating out of to reviews from mainstream publications, the album received an average score of 70, based on 25 reviews. Timberlake and Timbaland work together? So well that they can make even the world's most irritating percussion instrument, the human beatbox, sound pretty good. In a mixed review, Uncut magazine found the album "laudable, but overreaching. The album earned numerous best-of lists in  and the following years. The publication notes that Timberlake "levitates into a falsetto that honors Prince and Michael Jackson without stealing from them".
Rolling Stone ranked it 46th on their top albums of the s - calling it "an avant-garde sprawl of abstract electronica and hallucinatory space funk. He also earned the Quadruple Threat Award, an accolade that recognizes those artists who have excelled in multiple media including music, fashion and acting. It became Timberlake's first number-one album as a solo artist. Internationally, the album was also well received, selling almost equal units and topping many charts worldwide.
He found that Timberlake was among those few "that successfully sells in every country around the world". In the United Kingdom, the album debuted at number one. For Timberlake, it further established his career as a solo artist. Aside from earning critical acclaim for the album, according to Sia Michel of The New York Times , Timberlake was responsible for popularizing in the catchphrase "I'm bringing sexy back",   which is culled from the lead single "SexyBack".
It spawned a "phenomenon" in which video-makers spoofed the song. At least four parodies gained attention such as "SweatyBack" and "HairyBack". For the publication, Timbaland writes, "It's as if Justin had been born 26 years ago to deliver music to the world. There are those who follow and those who lead. Justin is a leader, setting the bar for what's expected of others. Kelly and Usher. Today, the LP's influence can still be heard in everything from the worldly electro-soul of Zayn Malik to the moody sound of newcomers like Bryson Tiller.
The album also signaled Timberlake's transition from pop hitmaker and Hollywood It Boy to a legitimate force as a musician and actor.