Dressing Up Justin

Almost seven years have come and gone since Justin Timberlake's monster hit, "FutureSex/LoveSounds," and the echoes of that disc have all but faded. An amiable presence always ready to spoof his own image (see his recent barbershop-quartet version of "SexyBack"), Mr. Timberlake has seemed, if not eager, at least willing to put some distance between the success of that 2006 album and whatever musical future he envisions for himself. In the interim, he has had roles in 11 films, including "The Social Network," and will star in the Coen Brothers' next movie, "Inside Llewyn Davis," set in the 1960s Greenwich Village folk scene.

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The sophisticated new sound on 'The 20/20 Experience' (out this week) can't hide Mr. Timberlake's vocal shortcomings.

To Mr. Timberlake's credit, he has chosen to ignore pop's of-the-moment trend on his new disc, "The 20/20 Experience" (RCA), out this week: No third-rate electronic dance music here. Its highlights are in the distinctive, occasionally dazzling backing tracks produced by Jerome Harmon, Timbaland and Mr. Timberlake.

Only one of the 10 tracks clocks in at less than five minutes; most bump up against the eight-minute mark, discarding themes to introduce new motifs, particularly in the polyrhythms and the playful intercutting of acoustic and synthesized strings. "Mirrors," the album's second single, is devilishly clever as a full orchestra gives way to a dance of synthesized pizzicato sounds�is that a quacking duck in there?�and Munchkin-like chanting; a bubbling synth doubles Mr. Timberlake's vocal to the fade. A hot percussion track featuring a brisk pattern on the high-hat cymbal kicks off "Tunnel Vision," which builds on soaring strings. "Strawberry Bubblegum" is an homage to old-school soul, with its scratchy vinyl sound and its Barry White intro; late in the track, percolating rhythms take over with a boost from a fetching mid-'80s bass synthesizer. Elliott Ives contributes a tasty guitar solo to the otherwise tepid ballad "Spaceship Coupe."

More often than not, though, the sense of adventure on these songs does not extend to the top line. Mr. Timberlake's arrangements for vocal ensembles on the album enrich the environment, especially in "Suit & Tie" and the beautifully rendered "That Girl." But while "Pusher Love Girl" thrills with its orchestral intro, staccato percussion and punchy horns at the bridge, the vocal is earthbound.

For all his strengths, Mr. Timberlake's falsetto lacks the authority of his influences, most obvious among them Michael Jackson and, as it is with every R&B artist, Stevie Wonder. Though he is already 32 years old�he joined the cast of "The Mickey Mouse Club" at age 12 and the boy-band 'N Sync two years later�Mr. Timberlake has yet to develop an approach to song that might compensate for the thin timbre of his voice. Accordingly, the presence on ample display during live performances does not come across on this disc. Compare the recorded tracks with Mr. Timberlake's appearances on the Grammys telecast or more recently on "Saturday Night Live" and "Late Night With Jimmy Fallon": When he is out front dancing and cajoling the crowd with his winning stage personality, his music has an added authority. But on the disc there is no insistence and the energy flags.

There is also the question of how Mr. Timberlake defines his audience. As sophisticated as the tracks sound, the lyrics are close to banal�rose-colored, mildly naughty and innocuous. They depict an almost adolescent view of romance: Every night on the town leads to bliss. Much like the lead vocals, the lyrics cool down the heat, as he comes across as slightly bemused.

Mr. Timberlake is taking "The 20/20 Experience" on the road with a series of shows with Jay-Z that they've dubbed "Legends of the Summer" tour. Little doubt the music will appear to burn in concert, but on disc it's disjointed and ultimately disappointing.

Mr. Fusilli is the Journal's rock and pop music critic. Email him at jfusilli@wsj.com or follow him on Twitter: @wsjrock.