The first immediate distinction that a fan will hear is the more traditional sound of the album, especially in regards to the instruments. They shred guitars that just don’t sound like guitars, and there isn’t always an obvious beat to follow. The songs came off as chaotic, but organized, with a cacophony of instruments in the background that somehow blended perfectly with the music. In “Nine Types of Light,” this isn’t always the case. Songs seem more structured which at times can be boring, but it’s not always a bad thing. Of course, this being a TV On the Radio album, the listener is soon treated a huge and odd variety of instruments, from guitar and horns, to banjo and cello.

The album starts out steadily with the medium paced, oddly titled “Second Song,” It soon moves up to an exciting pace that is somehow maintained even through the slower songs. “No Future Shock” sounds like the TV On the Radio of the past, a slow buildup with tremendous payoff. It’s a fast, hectic and a thoroughly exciting  song that is reminiscent of the band’s past work. Just as you get back into the familiarity of the song, it is followed by “Killer Crane” and “New Cannonball Blues,” two of the first great songs using TV On the Radio’s newfound style.

As the album comes to a close, the pace and tone of the music change from fun, fast, and hectic to a more somber and soulful sound. But it doesn’t last long. It then jumps back to its energetic form in “Caffeinated Consciousness,” and then ends with the reflective “All Falls Down.” It is a fitting end to the album, but “Dear Science” shows that the band can wrap up an album on a much stronger note. Often times the best part of an album is its exciting cataclysmic end, but “Nine Types of Light’s” last song is one of its weaker ones.

There are multiple identifiable styles throughout this album, some familiar to a fan, some familiar to any listener, and something completely new. It’s a refreshingly urgent tone, perhaps best displayed in the track “Repetition.” The song starts, quiet, controlled, and intense and gradually builds up slowly into an explosion of loud instruments and raucous vocals. It takes a while for this new style to grow on you, but when it does, it more than satisfies.

Since the band built such a unique, loved, sound with its past two albums, some may complain about the change. Many will find themselves missing the sounds of “Dear Science” and “Return to Cookie Mountain,” but they should also be pleased by their step in a new direction. Is “Nine Types of Light” the band’s best work? No. But it’s still a hell of an album that no one should miss out on.