The idea of a one-man band, for people of a certain age, consists of a guitar strumming, harmonica blowing, foot stomping, bass drum on the back and tiny cymbals on the knees wearing individual who by day was probably a supply Geography teacher. Luckily, more and more over time, such visions have been replaced in the public eye with the notion of the solo producer – a fact that we should all be thankful for.

Invisible Minds’ first track ‘Yo Mae Leh’ was released in 2017 and gained plenty of radio play but the identity of the ‘band’ was kept a secret. The song has a summery almost calypso infused feel in places, similar in tone to The Avalanches at their best, and there is an innocent charm to the brightly textured guitars and tight snare sounds which wind around a simple, drawn out keyboard pattern which would not be out of place on the first two Múm albums. It was eventually revealed that Invisible Minds was the new solo project from well-established dance music producer Tim Green, and the early signs were that this material would be entirely different to the minimal tech that made Green’s name as an internationally in demand DJ, producer and remixer. Green’s debut album Her Future Ghost was released under his own name in May of 2018 which marked his tenth anniversary in breaking out into the tech house scene. A slightly erratic, often dormant, schedule of releases and remixes in that decade has now been followed by albums under different guises within the space of just 6 months which are different in both aural scope and intentions. Green is clearly not a man to be rushed or one to follow the standard music industry methods of marketing, and for that he should be applauded.

The move to release an album under a new moniker so soon after a full debut album is a brave one, but perhaps not as plucky as allowing vocal collaborator Howard Hobbs to sing the line “Cos I’m champing at the bit/ Raising hell for shits and gigs” on the most recently released single ’Jump Jet’ – somebody at some point must have thought about stepping in to rewrite that line. Despite the inevitable wince which results in hearing that line, like sucking on a lemon for the first time, there is a brilliant sense of claustrophobia to the track as it builds and builds but never fully escapes the sense of tension that so wonderfully surrounds it.

These are the first two tracks on Make Up Your Own Stories and the juxtaposition between them tells the listener all they need to know about this work - that this is a dance album of varying shades and moods. The 11 songs on the album flit from beat driven, sample heavy detours into dancefloor territory (‘905 Users!’ is a standout track of this type), to the R’n’B, Erykah Badu-esque ‘To The Same’ and there is enough subtlety and skill in Green’s song writing (and arguably in his confidence) to ensure that the switch from one style to the next is not jarring. That is not to say, however, that the album’s many gears are always smooth as the morphing in ‘Light at Eventide’ from Nordi Noir style post-rock to reggae inflections doesn’t flow well at all, possibly due to the overly polished production. The crystal-clear sound which perhaps mars this particular track pays dividends, however, on the album and in particular on ‘Blurtooth’ which is one of the highlights of Make Up Your Own Stories. The seeming simplicity of this song is challenged on repeated listens as you notice layers of sound which veer off in different directions at times during its five and a half minute duration, and these subtle interweaving musical lines make for a slightly different experience each time, depending on where your focus lies.

Make Up Your Own Stories is an album full of risks and, for the most part, these pay off incredibly well for the listener. The flow and structure of each song, and the order in which they are presented, ensure that the body of work does not feel disjointed or disparate. This is a debut album which is at turns joyous, reflective and dreamy, and promises of greater things to come from this band.