Nomo's 2008 debut, GHOST ROCK, introduced the band's forward-thinking, world fusion aesthetic, one that draws on Afrobeat, avant-garde jazz, krautrock, and a fascination with texture and instrumental layering. The group's sophomore effort, INVISIBLE CITIES, pushes that vision even further, sounding like nothing less than a plugged-in, postmodern Fela Kuti. The description may sound theoretical, but Nomo's music is anything but. Immediately accessible and relentlessly rhythmic, INVISIBLE CITIES makes the most of Nomo's powerful horn lines and shifting sea of percussion. And while its ingredients include Eastern European sounds ("Elijah"), African folk ("Crescent"), shoegaze and post rock ("Banners on High"), and jazz-funk ("Patterns"), not to mention left-field covers (including versions of tunes by Moondog and Tom Ze), it all comes together with organic beauty.
Down Beat (p.52) - 4.5 stars out of 5 -- "INVISIBLE CITIES is the sound of an experienced, creative outfit in their prime, combining styles and sources at will..."
Pitchfork (Website) - "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."