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Terrible things can happen to terrific people. Just ahead of the release of this second LP from Mercury Prize-nominated trio The Invisible<\/a>, genial frontman Dave Okumu severely injured himself on-stage in Nigeria. He\u2019s out of action for a while, putting the (live) promotion of Rispah on hold. It\u2019s almost as if the opening lines of this album, Generational\u2019s \u201cThis is serious \/ So messed up,\u201d came alive with malignant intent. But to summon a perfectly common clich\u00e9: good things come to those who wait. And those who\u2019ve anticipated this follow-up since 2009\u2019s eponymous debut<\/a> won\u2019t be disappointed.<\/p>\n Rispah is named after Okumu\u2019s mother, who passed away during its writing. It is, palpably, a collection affected by loss \u2013 vocals float ghostly in the mix, ethereal atmospheres draped over tender arrangements performed with bewitching poise. This is every second the sound of progress, comparable to Wild Beasts<\/a>\u2019 discernable development from Limbo, Panto to Two Dancers. And it deserves comparable levels of critical acclaim.<\/p>\n Rispah possesses a proud confidence carried by compositions never cluttered with unnecessary instrumentation \u2013 every element serves these songs, with nothing added just because it can be. Even when Leo Taylor\u2019s inventive percussion busies itself, his skills complement proceedings rather than distract from the overall picture. A few tracks feel fairly minimal on an initial listen: The Wall, Surrender and What Happened are pieces of slow-burn intrigue. But repeat listens reveal salubrious textures, tiny details that bring these slight pieces to brilliant life.<\/p>\n What\u2019s most compelling about Rispah, acknowledging the grief flowing through so much of its DNA, is that it feels so very alive: it\u2019s the human retort to the mechanical motifs of its predecessor. Okumu recorded a group of women singing traditional Kenyan spirituals at his mother\u2019s wake, and these voices surface at key junctures of the album\u2019s sequencing: beginning, middle, and during the final seconds of closer and lead single, Protection. To quote Okumu, \u201cit\u2019s the most beautiful sound I\u2019ve ever heard\u201d; but these samples comprise just one facet of Rispah\u2019s sublime design. Unconcerned with delivering a more-of-the-same affair, The Invisible have realised a set that is both contemplative and cathartic, maintaining a significant emotional hold on the listener long after finishing.<\/p>\n Okumu should rest up easy. Records like this don\u2019t need to be forced upon the listening public. Rispah is brilliant enough for the listening public to find it naturally, in their own time.<\/p>\n<\/p><\/div>\n