The most beguiling aspect of Hey Venus!, however, is the production – it’s nothing short of jaw dropping. Never obtrusive, it begins to reveal itself over repeated listens. The multi-layered vocals, harmonies and deeply embedded refrains lay next to deft percussion, elegant keyboards and slowly seeping guitars. Most obviously, these audio sleight of hands become apparent in the midst of the record, on the barracking ‘Into The Night and the digital rock of ‘Baby Ate My Eight Ball’, the latter seemingly made almost solely of vocals piled upon vocals piled upon harmonies. It’s quite mind blowing.

The biggest criticism you could level at the new SFA record is that, for them, it breaks no new ground. If you were being particularly harsh, you could compare any song with an existing track from their back catalogue. That would be unfair, though, as a) the band have a huge collection of songs in the vault, and b) they’ve treaded further than any bands of recent times. So yes, ‘Carbon Dating’ does repeat the Ennio Morricone obsession heard on Mwng and the despairing, sighing beauty of ‘Suckers’ echoes one of their finest tracks, ‘Mountain People’. But these songs, particularly ‘Suckers’ - which is an album highlight - are quite wonderful in their own right.

Towards the album’s end ‘Battersea Odyssey’ emerges, comprising what is probably the only below-par effort to be found here. But it’s quickly rectified by the ‘Presidential Suite’-esque _’Let The Wolves Howl At The Moon'.