John Legend cuts a unique figure in modern R&B: a slightly out-of-step, button-down alternative to his heavy-breathing contemporaries. He emerged as a member of the then-waning neo-soul movement, but he was co-signed by Kanye West. West also produced Legend’s major labor debut single, “Used To Love U” and much of his album. But his big breakthrough was the piano-driven ballad “Ordinary People.” Then, just as his image seemed ready to be set in stone with his seemingly winkingly titled second record, Once Again, he took a series of savvy left turns. He sidestepped his position on your auntie’s gramophone by adding some dance-pop and reggae into the mix of his third record. He collaborated with dubstep group Magnetic Man and electro-dance rockers MSTRKRFT and did a full record of protest soul songs with The Roots. So if nothing else, Legend has been keeping his fans on their toes. And that’s the stage that’s set for his latest album, Love in the Future (GOOD Music/Columbia Records).

It may seem like an overstatement to say that Love In The Future takes all the best lessons from every facet of Legend’s career, but dang it if the record doesn’t tick off every box. Piano crooning? Check. Hip-hop influenced production? Check. Are there weird dark electronic tracks? Why not? Throwback joints? Bien sûr! Musically it’s a record that takes chances without coming off overworked or schizophrenic. And it’s quite a feat considering that the influence of Zapp sits alongside of Kanye’s industrial-leaning styling. It’s the type of record that would have been high near impossible to imagine after his first two albums, but makes perfect sense now.

It’s also a record that has Legend not being afraid to use the raw vocal approach that he took with his collaboration with The Roots. Another nice touch throughout the course of the record, which loosely follows a relationship through first courtship to full blown love, is that Legend isn’t afraid to be playful as well sincere. Romantic and silly are sharing the same pew, but don’t seem like awkward bedfellows. Hell, even Rick Ross, while not necessary, seems to fit into the album perfectly. If Love in the Future is the map that points the way, the future is going to be a great journey.