Considering how disjointed the circumstances were surrounding the production of ‘Hyperborea’, the tone, fluidity and cohesion of the record does not seem to suffer. Changes to Visa laws meant that founding Flamingods member Kamal Rasool was forced to leave the UK, meaning that the album was put together entirely via back and forth sessions on the internet, with no band members ever recording in the same room together. In this context, echoes of isolation can be found through the wonderfully trippy expedition of the record. It is however also an expansive, gratifyingly elemental record, clogged with dense atmospheres that breathe and hum and – true to its actual environment – feels lifted from the constrictions of place and location. It is a roaming, floating album.

This freeness allows too a sonic sense of freedom to manifest, and manifest is does boldly. The breadth and quest for experimentation that Flamingods clearly hold in their arsenal is perhaps only topped by their ability to reel it in. There’s something contentedly placid and withheld about ‘Hyperborea’ – much of the record’s pace has a mellow, syrupy, druggy grog to it but instead of being clogged down by this pace it allows space for the multifaceted components to come alive, to flutter and respire. It’s a record that has the tone of capturing something as it already exists, like a field recording or a passing natural occurrence, and this incredibly unforced approach, and the freedom it gives both the artist and the album, has created a record of superb scope, vision and energy.