The album opens with "Story's End", a seemingly simple piano-driven song, but I couldn’t help noticing the drone-like sound that underpins the track, adding a subtle melancholic edge. If my heartstrings weren’t already pulled enough, the addition of strings and beautiful vocals elevates it further, and my immediate reaction out of the gate was simply, “Wow”.

The next track, "Shades of Blue", is more upbeat musically, driven by guitar and drums, but vocally it continues with that more melancholic vibe, which I’m totally on board with. Again, the addition of strings elevates the song so incredibly well. And already I want to say I’m in love, but let’s give it a few more dates, to see how we go.

Delivering a very different feel is "Sorry I Was Yours", which features additional vocals from Conor Oberst. The song opens with a simple guitar riff, soon joined by vocals that feel effortlessly intertwined. The strings, in particular, bring a strong classical edge. For me, it has a sound that could easily sit within a TV show, underscoring a dramatic storyline.

Another underlying drone sound returns with "Tricky", but this time it creates a more fractured, unsettled atmosphere within the track, and without the vocals it could easily descend into something far darker. Later in the song, the drone is removed, which makes the vocals feel more personal, shifting from unease into a more hopeful, longing quality.

Flexing its creative muscle, "Never Thought I'd Feel New" introduces a different sound. It’s not a radical departure, but something a little more upbeat. As a whole, the track feels like an artist enjoying some creative freedom, with a range of elements coming together in a playful, exploratory way.

"Powerlines" starts very much stripped back, with just guitar and vocals. It's a more laid-back, reflective track, which builds slowly, thoughtfully with the addition of piano and strings. I love the vocals, as I have so far throughout this album, but here, given the production of the track, they feel more intimate.

I wasn’t expecting yet another distinctly different track, but that’s exactly what "Nathaniel" delivers. At first it brings to mind a Mantovani-style soundtrack, before morphing into something more reminiscent of Van Morrison. Adding to the texture is the subtle use of flute, and the whole piece feels like the work of someone genuinely enjoying the process and unafraid to experiment. And oh my God, those strings.

The use of flute continues into "Be Careful What You Want", which carries a similar feel, but this time with the atmosphere of a 60s film soundtrack. It may be the flute, or the laid-back mood, but either way it’s a beautifully crafted song.

Returning to the early feel of the album is "Everything is Fine (My Loves)", which leans into a more acoustic sound. There are some nice additions of brushed drums and slide guitar that add extra flavour, while still retaining that cinematic quality.

And so for the final track, "Change is Coming Soon (Green Butterfly Sequel)", a piano-led song with those familiar intimate vocals. As with many of the album’s acoustic beginnings, layers are gradually introduced, leading to subtle shifts in direction without ever straying too far from the song’s core. The guitar solo perhaps leans slightly into cliché, but it still works. The end result, as always, is an amazing finish.

OK, I think I’ve been on more than enough dates to declare my out-and-out, undying love. This is one of those albums I had dipped into to sample the tracks, but hadn’t really listened to properly. When I did, I was blown away. It’s an absolute tour de force, and I’m kicking myself for not getting to it earlier.