Invisible in Your City

Album Review of Invisible in Your City by Gang Colours.

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Invisible in Your City

Gang Colours

Invisible in Your City by Gang Colours

Release Date: Sep 24, 2013
Record label: Brownswood
Genre(s): Electronic, Downtempo, Garage, Left-Field Hip-Hop

65 Music Critic Score
How the Music Critic Score works

Invisible in Your City - Fairly Good, Based on 3 Critics

musicOMH.com - 70
Based on rating 3.5
70

Producer and electronic connoisseur Will Ozanne, better known as Gang Colours, back in 2012 wowed many with his slow-revealing debut The Keychain Collection. Lots of critics drew links between Southampton-er Ozanne and James Blake, noting the post-dubstep-cum-soultronica stylistic similarities. On his second full-length effort, he continues to mine that vein, edging closer and closer to the core of introspection, and though he’s not necessarily using frontier methods to do so, that doesn’t detract from the calibre of his affecting sounds.

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Drowned In Sound - 60
Based on rating 6/10
60

When Gang Colours put out his fine debut in 2011, it's a testament to its quality that it didn't feel particularly behind the curve. In the same year, James Blake's excellent first full length pulled so many progressive electronic musicans-cum-bona fide songwriters into the spotlight that The Keychain Collection could so easily have sounded like it was playing catch up - peddling the fragmented vocals and soft dubstep influences which coloured Blake's lauded early EPs and a sound which he was already leaving behind, seemingly bringing the whole scene with him. But Will Ozanne's music amazingly didn't suffer much, so immersive were his softly muted colours, merging with weighted piano and spongy, laid back rhythm.

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The Line of Best Fit
Their review was generally favourable

In this hyperactive world of Twitter, Soundcloud and the pre-release stream, it can sometimes feel as if artists have to scream themselves hoarse just to be heard over the incessant background chatter. In an age when any morning’s big news will usually be archaic hearsay by lunchtime, the modern music industry has become akin to an internet-based shouting match, where being heard matters much more than what’s being said. Whether it’s Kanye’s notorious lunge for immortality with ‘I Am A God’, or Miley Cyrus’ twerk-crusade, recent months have seen this contest reach new highs of cut-throat grandstanding.

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