Will Ozanne excels at making music for the small hours. His brand of electronica is delicate, layered and surprisingly spacious; the foundations for it were laid on last year's debut The Keychain Collection, which showcased Ozanne's laid-back sound whilst leaving enough room to grow. Just less than 19 months have elapsed since that album, so Ozanne has wasted very little time in picking up where he left off with a record that trumps its predecessor in every conceivable way.

Brownswood was the label that brought Ghostpoet to national attention, and saw him move up several rungs with a Mercury Prize nomination and switch to PIAS - and while Ozanne's music shares little with that of Obaro Ejimiwe, the two operate in a similar spectrum, both relying on atmosphere and meticulous production.

Invisible in Your City luxuriates in the mid-tempo, opening with the subtle beatwork and tight harmonies of 'The Rhythm the Rebel', a song that's bolstered by gentle strings, cascading backing vocals and a simple yet effective melody. It leads into the title track, revealing a sense of playfulness behind Ozanne's ambitious works, as well as a lightness of touch that works well in contrast to the sombre piano and thudding rhythms of a track like 'Home', and is also in evidence on 'Freshwater Fantasy', a James Blake-ish delight that picks things back up again after 'Up the Downs' allows Ozanne to take his foot off the pedal a little. His languid and sonorous music is full of nuance and things that the listener will only pick up on their fourth or fifth listen through.

He decides to throw caution to the winds on the album's closing track, a beautifully jazzy rendition of David Bowie's 'Always Crashing in the Same Car' that may stand out as an oddity on initial listens, but definitely has its place on the album. After all, the 10 songs on Invisible in Your City may be generally cut from the same cloth, but Ozanne is all about showing off his songwriting skills on an album that's more concerned with playing to his strengths.

There's an unexpected burst of energy (relatively speaking) in the middle of the album, as the pulsing percussion and sense of graceful ease on 'River For Dinner' combines with the most straightforwardly poppy track on the album, 'Why Didn't You Call?', piano-led R&B that finds Ozanne moving out of his comfort zone to give us a tantalising glimpse of where he may be headed next, but as it is now, his music works in a number of different contexts and should be admired for that.

Invisible in Your City is lush without being grandiose, and while it may be Ozanne's second album in two years, his current output rate is just fine with us if he can keep making records as good as this.