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VINE VOICEon 6 April 2009
Produced by Matthew Herbert, and featuring Hot Chip's drummer, Polar Bear & Acoustic Ladyland's bassist, and someone called Dave who I've never heard of before, The Invisible aren't short on musical chops, and though this is a world away from "look at me, ma!" prog soloing, they're not afraid to show just how well they can play.

As you might imagine from the participants, The Invisible mix up contemporary electronic music, funk, jazz, indie rock, and more, into a sonic soup that's absolutely delicious on headphones. TV On The Radio have been mentioned as a comparison, and that's valid, as is the last Radiohead album, and, perhaps, Bloc Party stripped of the inferiority complex that's compelled them to ruin their last two albums by over-egging the pudding.

For those old enough to remember, A.R. Kane are also a serious reference point: the Dave bloke sings almost exactly like Rudi, and there's something in the music's sophisticated eclecticism that recalls that band's work updated by 20 years.

I've had this a weekend and songs aren't jumping out at me for their melodies particularly; appreciating The Invisible is much more about taking in texture, subtle virtuosity, and twisting musicological avenues than it is humming tunes, I think - not that things are at all tuneless or atonal, just not reductively catchy.

Observing any human beings doing something they're very, very good at is a pleasure; The Invisible are very good at playing intricate, intriguing modern rock / jazz /whatever music. Keep an eye, and a couple of ears, on them.
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on 20 October 2009
I'll not pretend that I'd heard of this band before their Mercury Music Prize nomination. I'll not pretend that , upon listening to this album, that they deserved to win the Mercury Music Prize. However, I will not pretend that this is an album full of pretentious throwback indie ramblings. It is quite simply sublime. These guys make fresh sounding, uplifting, soulful music that retains a 'British' sound. I managed to catch them touring with Micachu And The Shapes recently and they blew me away. The layers of sound they build through each track had me hypnotized and I came away craving more. British music is really on a high at the moment and these guys deserve the plaudits. Go buy!
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on 10 October 2009
This should have worn the MMPA -this album is sublime - I have not heard anything as fresh, as wonderful, in a very long time. BUY the album, you will not be disappointed.
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on 18 January 2015
This is an excellent and quirky piece of music. Some songs hit the sweet spot straight off, while others are a slow burn but get better on each play. I love this band and going to buy there second CD. Be inspired and go for it!
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on 11 January 2012
These guys are frankly insane. I'm looking forward to the follow up! What an incredible mix of influences pooled together in a pot of goodness.
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on 14 August 2009
5 stars for the Invisible's modesty - their support of Jack Penate at Leeds Cockpit was a study in quietly besting your more colourful opponents.

Penate has been variously written about, up and off so I won't add to that debate, but the Invisible warrant more attention:

I really enjoyed the depth of their sound live, and in the produced state they deliver an album of assured, smooth, bassy simply soulful and funky quality.

Given that I can't music-write for toffee, I can only offer the following advice: buy the album, expect bassy riffs, try not to dance like TAFKAP, give it another listen and start to fall in love - trust me.
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on 15 May 2009
This eponymous collection, if not invisible, is certainly not transparent. It appears harmless, pleasant even, but there is much more at play. Friends with kitchen-sink popstress Micachu, The Invisible share her approach to creating unobvious music. Okumu's vocal, for example and for sure, recalls TV On The Radio in parts; elsewhere it has the funk and croon of diminutive, purple goblin Prince. But there is more still, The Invisible share a drummer with Hot Chip, and it shows. This intriguing ensemble peddle a fine line in relaxed, but danceable, indie with a host of extras at play.

Album opener, `In Retrograde' is a mute affair with whispery quartet-like vocals, guitar FX and a smattering of disjointed beats to recall a lesser Radiohead circa Amnesiac. Herbert's electronic wizardry, here present, surfaces throughout. `Constant' has a quiet funk set to one of the Cure's bass lines to create a party warm-up number, something like Friendly Fires might have produced with greater access to downers.

Lead single `London Girl' is a fine slab of relaxed electro-indie, whereas `Baby Doll' is straight indie-rock by numbers, bringing a poppier Talking Heads to mind. `OK' reprises `Constant's 80s feel, and is seemingly borrowed from Tommy Lee's anarchic Joker's ipod. Closer `Time Waits' is the best Radiohead, TV On The Radio, Black Mountain mash up you will ever hear.

The problem comes despite all this. In being adventurous, the resultant soup is a little muddled. The Invisible are a darker shade than they imagine, a brown concoction that pleases, but fails to let its best elements shine. It is silky smooth, highly polished with soothing and considered vocals but amounts to little more than a dignified sway when these influences clamour for more.
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on 10 October 2009
This is an album that will send shivers down your spine. The album captures shrapnel from an array of different genres but moulds them together beautifully. I really am out of superlatives for this phenomenal masterpiece - BUY IT, BUY IT, BUY IT....
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