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This is elsewhere music one can feel eternally at home in, no matter your place of origin.
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The band is becoming, depending on how you look at it, either more like a classic jazz group—solos twisting well beyond the compact call-and-answer of formulaic Afrobeat—or something like a more world music-friendly Tortoise.
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Invisible Cities serves as something of a breath-catching moment for a band that's taken a giant leap on each of its albums, bringing some of the thunder back while further elaborating on the progress made on Ghost Rock.
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Though NOMO exhibits an ecstatic love for Afrobeat, spiritual jazz (check the odd time-signatured mysticism of “Patterns”), and the like, they’ve been increasingly studio-prone with each successive album, allowing for the effects of postproduction and modern electronic instrumentation to take their music in wild new directions.
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A companion album to last year’s Ghost Rock, Invisible Cities again finds the group in fine form, refining their sound and moving gradually further from revivalist afrobeat into a style all their own.