Invisible by Nick D'Virgilio

Release date: June 26, 2020
Label: Sweetwater Sounds

I hate to say this, but why would Nick D’Virgilio want to name an album called Invisible? That I have absolutely no idea. I had found it to be dragging, tedious, and an unpleasant experience I had to endure this year. It may work in some areas for Nick to be in, but for me, it felt like it was at the wrong place at the wrong time. Listening to his second album which was his follow up to his 2001 solo debut release Karma nearly 10 years ago, is like walking through a one story apartment room that has been turned into a complete wreck for many, many years.

And I can prove it. Listening to his cover of ‘Money (That’s What I Want)’ from the Tamla (Pre-Motown) years, I found it to be a distasteful raunchy blues take as he tries to do his own version of Tom Waits but to no avail. When I was listening to this, I almost did my laundry. Both listening and cringing at the same time whilst trying to fold my clothes.

Knowing that this was going to be a big bumpy ride, I was waiting for those big giant pot holes on the street to happen at any second. ‘Turn Your Life Around’ has too many heavy riffs and loud string sections on the keyboard. It feels like a bad Broadway song as he tries plead to one of his loved ones to clean up their sloppy and rude behavior, but it goes horribly awry.


‘Waiting for no One’ I almost wanted to like this track. And I tried, but it collapses towards the center of the earth. While this is a ballad, I could tell that Nick is pulling the weight of Peter Gabriel’s arrangements way too much as if he had pulled his chains to hard and breaking it unexpectedly.

With ‘Mercy’, ‘Overcome’, and ‘Wrong Place Wrong Time’ this is where I almost could have checked in for a Ludovico technique. It goes into a crash course between the sleepiness of a poppy ‘80s track gone wrong, and the cheesiness of Dream Theater. Like a race car driving way too fast and a video-gamesy effect to make it sound like DragonForce at times, you could tell that Nick is going for the Bon Jovi and Poison effect with Queen Vocalizations that didn’t need to be there.

The title-track is too psychedelic. Nick is asking listeners to find out what is it like to be Invisible? Well I might say that it’s feels different, but I would rather go to the bar and drink 500 bottles of Jack Daniels and Crown Royal, nonstop! Now after listening to Nick’s album three times now, I had a hard time with this album. I didn’t know if my ears would accept it or not, it didn’t. I have to give Nick credit despite his work between Spock’s Beard, Big Big Train, Genesis, and Dave Kerzner to name a few, but Invisible is a mess.

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