For its second outing, Town of Two Faces, The Choir Invisible- the simpatico threesome of German-transplant Charlotte Greve (alto), Chris Tordini (bass) and Vinnie Sperrazza (drums) - continues in the vein established by its winning eponymous debut. In the liner notes, Tordini characterizes the band's sweet spot as a kind of quiet intensity, and that description is amply met by the ten cuts which make up this 2022 studio session. The shared writing credits signal the predominant communal ethos: three from the pen of each of the principals, alongside one cover. This diverse authorship, an air of wistful introspection, prevails throughout a date that privileges the pastel hues. Yet this coloration does serve to make even the slightest hint of primary color (e.g. a multiphonic flourish here or an assertive drumroll there) assume greater significance. An understated complexity pervades the set, as the carefully-crafted arrangements translate into a wealth of activity happening below the surface. Although Greve's elegant silky alto provides the lead voice, Tordini's muscular counterpoint at the intersection of melody and rhythm and Sperrazza's exquisite shading and tuneful beats immeasurably enhance the overall impression.
Further affirming the collective approach, solos tend to be brief and integrated into the fabric, whether Tordini's rippling intro to "21 Years" or Greve's dances and twirls through "17 East". Coming halfway through the program, "In Heaven" (a song from David Lynch's surreal film Eraserhead) offers a cannily-timed change of pace. Guest vocalist Fay Victor's bluesy growl extracts all manner of nuance from the eerie incantatory languor. Other highlights include the hymn-like "Sustained Imagination", where a dirge delicately blooms, and the sorrowful "The Audition", ultimately buoyed by a defiantly twisting final refrain.
Mention must also be made of the title track, sung by Greve in an attractively winsome voice (recalling Suzanne Vega in her heyday), which concludes an album that worms its way into your head almost without you noticing, and once there refuses to let go.

For its second outing, Town of Two Faces, The Choir Invisible- the simpatico threesome of German-transplant Charlotte Greve (alto), Chris Tordini (bass) and Vinnie Sperrazza (drums) - continues in the vein established by its winning eponymous debut. In the liner notes, Tordini characterizes the band's sweet spot as a kind of quiet intensity, and that description is amply met by the ten cuts which make up this 2022 studio session. The shared writing credits signal the predominant communal ethos: three from the pen of each of the principals, alongside one cover. This diverse authorship, an air of wistful introspection, prevails throughout a date that privileges the pastel hues. Yet this coloration does serve to make even the slightest hint of primary color (e.g. a multiphonic flourish here or an assertive drumroll there) assume greater significance. An understated complexity pervades the set, as the carefully-crafted arrangements translate into a wealth of activity happening below the surface. Although Greve's elegant silky alto provides the lead voice, Tordini's muscular counterpoint at the intersection of melody and rhythm and Sperrazza's exquisite shading and tuneful beats immeasurably enhance the overall impression.
Further affirming the collective approach, solos tend to be brief and integrated into the fabric, whether Tordini's rippling intro to "21 Years" or Greve's dances and twirls through "17 East". Coming halfway through the program, "In Heaven" (a song from David Lynch's surreal film Eraserhead) offers a cannily-timed change of pace. Guest vocalist Fay Victor's bluesy growl extracts all manner of nuance from the eerie incantatory languor. Other highlights include the hymn-like "Sustained Imagination", where a dirge delicately blooms, and the sorrowful "The Audition", ultimately buoyed by a defiantly twisting final refrain.
Mention must also be made of the title track, sung by Greve in an attractively winsome voice (recalling Suzanne Vega in her heyday), which concludes an album that worms its way into your head almost without you noticing, and once there refuses to let go.