Your basket is empty

Categories :

Albums

CD$14.99

Alternative & Indie - Released January 1, 2011 | Interscope

Distinctions 3F de Télérama
During the nearly three years between Dear Science and Nine Types of Light, the members of TV on the Radio worked on their own projects, which ranged from Tunde Adebimpe's role in Rachel Getting Married to Kyp Malone's Rain Machine, to David Sitek's move to Los Angeles and solo album, Maximum Balloon. When they and the rest of the band reconvened, Sitek's studio became their home base, and that west coast vibe sets Nine Types of Light apart from their other work. It’s no coincidence that this is the group’s sunniest set of songs; much of the angst and yearning that fueled albums such as Desperate Youth, Bloodthirsty Babes, and Dear Science are gone, replaced by a mellower focus on matters of the heart. Nine Types of Light unfolds at an unhurried pace, beginning with a pair of Malone songs that sound like they should close an album rather than begin it. The confessional, ambling “Second Song” takes its sweet time to build up to a mildly funky groove; as it flares into brass and guitar, it sounds like dusk becoming night on the Sunset Strip. “Keep Your Heart” is the musical equivalent of a warm bath, with caressing strings and lyrics like “all these blues I have cried” giving it the feel of the calm after the storm. That the album ends with “Caffeinated Consciousness,” a brief check-in with the righteous fury the band usually displays, underscores how different Nine Types of Light is from what came before it. Though they crank things up on “Repetition” and “No Future Shock,” TV on the Radio sound more comfortable being comfortable, even when getting in some satirical digs at the L.A. mindset (“Beverly Hills/nuclear winter/what should we wear/and who’s for dinner?”) on “Forgotten”'s eternal summer haze. The band has always written about love with the same urgency and eloquence with which they tackle politics and other subjects, and Nine Types of Light is no exception. Adebimpe delivers two of the album’s brightest moments with “You,” a poppy meditation on how deceptive the heat of the moment can be, and the gorgeous “Will Do,” a playful, seductive piece of soul-pop that ranks among TV on the Radio's finest moments. Indeed, the way the band’s soul undercurrents rise to the fore, as on the psych-soul interlude “Killer Crane,” may be the best and most exciting thing about Nine Types of Light. In many ways, the album feels like a working holiday for the band; even if it’s not as explosive as some of their previous work, it shows that they can age gracefully and try new things at the same time. [Nine Types of Light was also released with two remixes of "Will Do" and a bonus track, "All Falls Down."] © Heather Phares /TiVo
CD$12.99

Alternative & Indie - Released January 1, 2011 | Interscope

Distinctions 3F de Télérama - Sélection Les Inrocks
During the nearly three years between Dear Science and Nine Types of Light, the members of TV on the Radio worked on their own projects, which ranged from Tunde Adebimpe's role in Rachel Getting Married to Kyp Malone's Rain Machine, to David Sitek's move to Los Angeles and solo album, Maximum Balloon. When they and the rest of the band reconvened, Sitek's studio became their home base, and that west coast vibe sets Nine Types of Light apart from their other work. It’s no coincidence that this is the group’s sunniest set of songs; much of the angst and yearning that fueled albums such as Desperate Youth, Bloodthirsty Babes, and Dear Science are gone, replaced by a mellower focus on matters of the heart. Nine Types of Light unfolds at an unhurried pace, beginning with a pair of Malone songs that sound like they should close an album rather than begin it. The confessional, ambling “Second Song” takes its sweet time to build up to a mildly funky groove; as it flares into brass and guitar, it sounds like dusk becoming night on the Sunset Strip. “Keep Your Heart” is the musical equivalent of a warm bath, with caressing strings and lyrics like “all these blues I have cried” giving it the feel of the calm after the storm. That the album ends with “Caffeinated Consciousness,” a brief check-in with the righteous fury the band usually displays, underscores how different Nine Types of Light is from what came before it. Though they crank things up on “Repetition” and “No Future Shock,” TV on the Radio sound more comfortable being comfortable, even when getting in some satirical digs at the L.A. mindset (“Beverly Hills/nuclear winter/what should we wear/and who’s for dinner?”) on “Forgotten”'s eternal summer haze. The band has always written about love with the same urgency and eloquence with which they tackle politics and other subjects, and Nine Types of Light is no exception. Adebimpe delivers two of the album’s brightest moments with “You,” a poppy meditation on how deceptive the heat of the moment can be, and the gorgeous “Will Do,” a playful, seductive piece of soul-pop that ranks among TV on the Radio's finest moments. Indeed, the way the band’s soul undercurrents rise to the fore, as on the psych-soul interlude “Killer Crane,” may be the best and most exciting thing about Nine Types of Light. In many ways, the album feels like a working holiday for the band; even if it’s not as explosive as some of their previous work, it shows that they can age gracefully and try new things at the same time. [Nine Types of Light was also released with two remixes of "Will Do" and a bonus track, "All Falls Down."] © Heather Phares /TiVo
CD$12.99

Film Soundtracks - Released September 29, 2009 | Interscope

Distinctions 3F de Télérama - Sélection Les Inrocks
Maurice Sendak's Where the Wild Things Are means so much to so many generations that Spike Jonze's film adaptation couldn't be just a typical kids' movie -- it had to be a movie for the entire family. And on every part of the production, Jonze worked with artists so close to him that they might as well have been a family: while bringing the book's story to the big screen, he developed a tight friendship with Sendak; for Where the Wild Things Are's music, Jonze recruited former lover and frequent collaborator Karen O of the Yeah Yeah Yeahs. In turn, O drafted a who's who of indie rock talent, among them her chief co-writers Bradford Cox of Deerhunter and Yeah Yeah Yeahs associate Imaad Wasif and her bandmates Brian Chase and Nick Zinner, all of whom perform under the aptly storybook name Karen O & the Kids. With their help, O uncovers new musical directions. Wildness abounds in her work with the Yeah Yeah Yeahs and Native Korean Rock, but neither band's music is particularly childlike. Here, she taps into a rainbow of youthful expression, from "All Is Love"'s pure joy to the tribal festivity of "Rumpus" to "Animal"'s feral folk, which puts O's ferocious scream in a completely different context than her other work. Yet on "Igloo" and "Sailing Home," her voice is gentler than it's been almost anywhere else -- the only other time she has sounded so soft is on "Hello Tomorrow," the song she wrote for Jonze's 2005 Nike television commercial. Likewise, despite the wealth of indie rockers on it, Where the Wild Things Are rarely sounds self-consciously indie, even on the cover of Daniel Johnston's "Worried Shoes." Cox's xylophone gives the album a dreamlike feel, particularly on "Rumpus Reprise," while Zinner's guitar is unmistakable on the excellent "Capsize," which moves from a fierce tantrum to sweeping mystery like its own self-contained story. Balancing abstract pieces with more attention-getting pop songs like the adorable "Heads Up," Where the Wild Things Are doesn't resemble a typical children's film soundtrack, although it will make a great first soundtrack for kids' music collections. Neither a straightforward score nor a collection of kid-friendly indie rock songs, it lies somewhere intriguingly in between -- and it's just as good, if not better, than the music these artists make with their main projects. © Heather Phares /TiVo