A 19th-century poem by Kobayashi Issa inspired Banhart’s 11th record, its brevity and profound meaning floored him, “This dewdrop world – is a dewdrop world, and yet, and yet ... ” – the “and yet” drew him in, a positive statement of hope amid complete despair. This sensibility frames the entire record, which he worked on with Cate Le Bon, at a cabin studio in Topanga, where he was determined to explore a new sound.

This, he has achieved, because it sounds unlike anything Banhart has created before, and although his work has always had depth, warmth, and grace, this record glows and vibrates, with the pieces stitched together into one grand sonic tapestry.

The atmospheric Feeling opens with the sound of lapping waves, as Banhart sings or warns, “when the night comes, oh how she comes”, and Fireflies, with its evocative drum machine is all lovely, washed-out beauty. Le Bon’s connection is vital to note, as she casts a benevolent, loving spell over production. It is a special scaffolding, harnessing Banhart’s romanticism. It is there in the nice pacing of the Beatles-y Nun, and the world-weary Sight Seer, Sirens seems to dwell in a kind of dappled light, with sloping percussion and hopeful atmosphere, Charger frames Banhart’s droll vocal to charming effect, as does Twin with its stately guitar. All is pared back for the spindly May, until finally we close with the dreamy sad bliss of The Party – luminous.