The Invisible’s debut album gets off to a poor start, with the aimless, wandering and empty-sounding
‘In Retrograde’. With a strong whiff of self-indulgence, the experimental track is a confused choice of an opening song,
but things do improve. ‘Constant’ is a low-key groove, like Hot Chip on a comedown, and from here on, The Invisible lock into a chilled-out,
delicately melodic haze. Invisible
A high point comes with ‘Monsters Waltz’, which is the sound of Tom Vek and Prince hunkering down in a Invisible
basement room with a rack of synths and a bass guitar. But there’s a very fine line between chilled-out and plain dull,
and for much of this record The Invisible straddle that divide.
Depending on your inclination, this album will either carry you off unwillingly into a partial coma, or have you excitedly reaching for the Rizlas.Invisible
laser zaps that feedback and shoot from his amplifier. He’s gone
Matt Belamy on us at the exact point we thought this east London
trio couldn’t squeeze in another bold influence.
Until now we’ve had lo-fi guitar indie (suiting Churchyard’s smart/casual clobberof-a-Stephen-Malkmus-fan),
James Dean-Bradfield vocal shreds, a stretching Fleetwood Mac wig-out,
moulding three tracks into a Doors-sized psych pop opus and early Idlewild arpeggios to plug leaky holes.
In opener ‘Mouchette’ there’s even a Kula Shaker warble at one point. It all sounds like cheap pilfering, and yet Zoo Zero’s
napping fingers channel their influences so well that it’s forgiven not least because they appear to be progging-out with all the confidence of a band that invented
their entire sound without listening to a single record from the above. “You think we sound like Pavement?” they might say.
“That’s cool, but we never intended to.” And we believe them, because as ‘Stationed’ closes this second Zoo Zero show, the band are suddenly all the best bits of The Clash.
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