TV On the Radio – Nine Types of Light (2011) [Interscope] // Grade: A

Dear Science part 2. That’s what I thought when I first listened to this record. It took me a few listens to get past the largest strokes of character in Nine Types of Light, as they’re drastically similar to those of Dear Science. However, the finer elements are quite different. The record comes through with a similar force to that of Dear Science; it moves in similar ways; moves me in similar ways; winds up in many of the same places. But what happens in those places, the reasons to remember them, the performance is very different. These songs feel much more comfortable. I feel like Talking Heads fans may have felt similar as Fear of Music led to Remain in Light.

To say that Sitek, Adebimpe, Malone, Smith, Bunton, et al. have taken the sound from Dear Science further would be a profound disservice. While the similarities are here it seems more so to be an indication of striding consistency, than stumbling languor, and this is a great step. This record is the sound of the band really laying claim to a sound, and using that sound to tell a number of tales. What we get is an album of solid songs that finds exceptional peaks without racing towards them; tasteful solos unraveling with confident restraint; vocals stripped down and articulated in an unfamiliar fashion; charged expanses of sound that carry us further to places slightly more exquisite than they’ve taken us before; the familiar layering of sounds to create engulfing tapestries.

I feel like TVOTR has a discography of records that all sit arguably equal amongst each other. These guys make great music, no matter how they’re doing it. But, this newest effort seems to do an incredible job. Like I said earlier they’re hitting their stride on this record, and it feels like they’ve really dialed in a sound that they can work in a number of ways. “Killer Crane” really shows them maturing into a masterful band. The song takes a considerable amount of time to build up, and employs a rich variety of instruments—something they’ve always been doing—to create a changing soundscape that feels very similar to Terry Riley’s “In C” (especially around 2:30).

As “Killer Crane” ends it leads into “Will Do”. These are easily my two favorite tracks off of the record, and they make great companions. While “Killer Crane” is a slow building languid-paced orchestral work, “Will Do” is a driving big-drummed banger. As it opens it seems like it could be an El-P, or Odd Nosdam beat with heavy heavy ominous drums letting us know that these boys can go hard when they want to. The normal sweeping sound that would be produced by brushes on a snare drum in the interstices between beats has been replaced here by filter sweeps of white noise—clever. As these filter sweeps fade out and the rest of the song fades in the mastery of the band becomes very clear. The song changes constantly as it proceeds, but only slightly. Every couple of measures something new comes in, or something familiar is altered. The song is strung together brilliantly, and it reflects the album.

This is a great record, and I won’t be surprised if it tops most people’s best of lists this year. They’ve put something together that never speaks too loud, never speaks too long, and knows what matters. Good work guys.

- Zachg