Less than a year after the acclaimed Ghost Rock, NOMO have completed its
spirited sister album recorded during the Ghost Rock sessions and tours.
Invisible Cities is informed by their ceaseless travelling, and visits to
places both real and unreal. The sonic empire of NOMO is expanding; busting
up genres and musical borders with astonishing results. With a theme stolen
from Italian novelist Italo Calvino, each tune on Invisible Cities is a
little world of its own, dense with rhythm and timbre. Hot horns blaze
through intersecting lines, heavy percussion drives the band down winding
streets, the bass rumbles in some subterranean corridor. The sounds come from far reaching points, not from a fixed place on a globe, but from an area of the human spirit; one that is joyous, open and in motion.
Like Ghost Rock, Invisible Cities reaches into new places both sonically and
emotionally, and pulls up some real bangers: The title tracks horns are
drenched in Echoplex and its driving beat is straight from the swamp. “Bumbo”, Moondogs best tune, gets a NOMO island makeover, with a set of antique fire extinguishers clanging away in a 21st century steel drum style. “Crescent” is a shimmering silver stream of electric kalimbas, with handclaps and bamboo flutes giving the tune a more delicate feel than NOMO has offered up on previous albums. Giving “Elijah” a listen, its immediately apparent that this is stirring spiritual jazz of a higher order; the tune was written as a lament for one of bandleader Elliot Bergmans childhood friends. Warren Defevers immaculate production work creates a space where the music can grow, develop, layer on top of itself, and reveal this band in artful new ways.