By Natalya Jones
By County Grind
By Liz Tracy
By Chris Joseph
By Liz Tracy
By Matt Preira
By Jesse Scheckner
By Michael E. Miller
Does your mailbox get swamped with promotional CDs nowadays?
Yeah, tons of stuff. I get boxes and boxes of CDs. I give most of it away, though. I can't listen to it all.
Is there a mix CD no-no that everyone should follow?
There are no rules. Just good music. Making Adjustments
Despite an endless audience for radio-friendly music, most pop-oriented artists eventually become bored with straightforward pop-music structures a tradition that's been carried down from the Beatles to Christina Aguilera. And really, who can blame them? Even though it's one of the hardest things to construct, the pop hit is also the most limiting, the tune they'll nearly always be requested to perform to the exclusion of other, often more relevant work.
In a sense, monster boy band 'NSync echoed Radiohead's career trajectory. The squeaky-clean quintet mesmerized the Top 40 glitterati with "Bye Bye Bye" and "Tearin' Up My Heart" before embracing producers such as BT and the Neptunes on 2001's experimental, hip-hop-leaning Celebrity which sold far fewer copies than its predecessor, 2000's No Strings Attached. The stylistic shift paved the way for the group's figurehead, Justin Timberlake, when he went solo and released 2002's Justified. A slick disc that pays homage to Michael Jackson, disco, soul, and modern hip-hop, Justified established the 25-year-old as a bona fide pop star in his own right even though (and probably because) it sounded like nothing else on the airwaves at the time.
Timberlake attempts to solidify his street rep further on the new FutureSex/LoveSounds, thanks to collaborations with Snoop Dogg, T.I., will.i.am, and Three 6 Mafia. But instead of playing to his strengths, Sounds finds Timberlake obscuring his sonic gifts behind trendy production and conceits. The most frustrating thing, actually, is that he's trying to downplay his status as pop icon. Timberlake's the rare artist capable of creating killer ear candy that's progressive and accessible; on Sounds, he seems reluctant to acknowledge this.
Take "SexyBack," for example. It's certainly distinctive, but with minimalist techno drip-drops, squelching tracks, and random Timbaland interjections ("Get your sexy on!"), its appeal is gradual, not immediate. The bigger problem with "SexyBack," however the song's lack of hooks and dynamics plagues much of Sounds. Timberlake's pop-song deconstructions are just boring; most tunes just don't go anywhere interesting once they've established a rhythmic and lyrical pattern. "Sexy Ladies" uses über-'80s synth swerves and a loping funk bass reminiscent of Prince but wastes it on almost-bored vocals. That's not to say there aren't some interesting moments. "LoveStoned" is a string-laden disco-tango driven by panting beatboxing, while the interlude "Let Me Talk to You" is a hyperactive Basement Jaxx-esque percussive collage.
Overall, though, the closest parallel in 2006 to Sounds is Thom Yorke's The Eraser, an album also built on a foundation of repetition, half-formed phrases, and detailed sonic atmosphere. The Eraserworks because fragmentation is expected from Yorke, whose entire shtick is T-shirt sloganeering reconfigured as poetry. Sounds is obviously Timberlake's attempt to hang with pop's new kings, the hip-hop guys but instead of sounding modern, he simply sounds outclassed.