The Roots continue to be grounded in politically experimental hip-hop. The Philadelphia sextet of rhyme-spilling, instrument-banging activists has a new label in which to dig their namesake.

A combination of minimal-to-major successes allowed The Roots to continue making music within the underground. The ensemble fell in a slump with poor sales and left Geffen/DGC.

During Jay-Z’s unplugged phase, the Roots served as his support band and spurred his interest in signing the group to Def Jam.

“Game Theory” is a well-rounded release, instrumentally solid and accurately produced songs.

The diverse track listing offers much for listeners, hip-hop fan or not. As a band, the Roots are solid and interesting. Organs, strings and percussion instruments all make appearances — enhancing the words of emcee Black Thought and guests.

“Baby” is an honest song about being naive in relationships. Hand claps circulate around simple rhythm guitar strums with lyric tips for the young’ens. “The condoms you found and asked him/ Was all this just for practice?/ He didn’t realize what he had and/ Now your heart got fractured gurl.”

Preceding the calmness of “Baby” is the album’s most aggressively charged song. Warping keyboards drive the flurry of rhymes in “Here I Come.” ?uestlove’s tight drumbeat keeps guest emcees Dice Raw of Nouveau Riche & Malik B. on par. The three verses are equally balanced in flow and intensity. “The smooth villain under fire/ Cause I’m pennin’ the words that move millions/ Slide right in front of your eyes true brilliance/ It’s a new bad boy on the rise.”

The other tracks on “Game Theory” are also thought-provoking, including “False Media,” a three minute public service announcement on current politics and “Take It There,” which highlights Kamal’s thundering piano.

A switch in labels sounds like a good thing for The Roots.

Adrian Finiak is a music critic for the Northern Star.