The University of Idaho Argonaut

TV on the Radio fans have a lot to be excited about with “Dear Science,” the group’s third full-length release that debuted on Tuesday.
The first thing listeners may notice is the group has cleaned up some of the sound density that buried portions of the last album, “Return to Cookie Mountain.” The new record is still complex and meticulously thought out, but sounds a bit less messy than a lot of the band’s past recordings.
One of the best results of this is that the lyrics are simply more intelligible on “Dear Science,” which allows them to stick with (or rather haunt) the listener. Tunde Adebimpe and Kyp Malone’s dark, brooding messages aren’t lost in a haze of eclipsing loops and ambient noise with this one.

The signature sounds that define the group, however, are still there. Funk guitar lines, sampled film score string clips and belligerent horn backgrounds brand the record with TV on the Radio’s unique and robust flavor. One of best examples of the group’s ability to stretch their independent style onto the new record is the track, “Red Dress.” The song feels like a ‘fro-topped ‘70s spy movie soundtrack backing up what reads like a bitter lyrical attack on the self-perpetuated indignity of mainstream pop culture.

The song states: “go ahead, put your red dress on / days of white robes have come and gone, come and gone / oh, you rivers, oh, you waters run / come bear witness to the whore of Babylon.”
On the other end of the spectrum, the song “Family Tree” is arguably the most different song on “Dear Science.” The dual-harmony vocal melodies laid over breezy synths, violins and delayed piano chords maintain a style reminiscent of post new-wave groups like New Order. In regards to overall melodic satisfaction, the song “Love Dog” should be given special credit.

While the moods of the songs vary widely, they all share a common thread of unswerving depth. Big simple bass lines pocked with dramatic subtleties bleed into one another, which can make it hard to put a finger specifically on why each track feels so heavy. But they all do.
The CD is well mixed for an emotionally regenerative flow. Independent of the lyrics, the record breathes in deep, painful breaths and subsequently exhales upbeat, jingling anthems.

Generally, bands working on their third or fourth album are left to choose whether they want to refine the hits from previous sessions or move on to new creative ground. It isn’t often that a band can pull off such a perfect balance of both.

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