There’s no doubting that it’s a great track, but it feels a little out of place surrounded by the stripped-down acoustics of the rest of the album. The shift will also surprise those whose only taste of the album so far is the thunderous title track, a fuzzed-up bass driving it from within, more akin to what we’ve come to expect. It staggers over shuffling and sparse drums, looping chords spinning cyclical melodies out into the ether, recalling the way Lou Barlow also stepped out of the noise on last year’s Reason To Live.

And he has really made the most of the change, especially on early highlight, Over. The album opens like a sunrise cracking through a gap in the curtains on the sweet waking lullaby of Good Morning, marking from the outset that the crunching overdriven guitars, and the synths that defined his more recent work, have been, somewhat though not completely, set to one side. However, his decision to strip things back has paid dividends. His songwriting skill has always been there and, of course, many of the songs on his new album would have sounded incredible with the punch of blistering fuzz he is renowned for. It’s a shift that brings his songwriting skills to the light of the summer sun, a great soundtrack to lazily soak in the melting heat. It’s a testament to his own history, freed from the noise, allowing his compositions to shine in a way that they have never done so before.

On his new album, Hello, Hi, he has changed tack completely, stripping back everything superfluous to release an album on which he relies, almost completely, on his acoustic guitar. As I thought, we didn’t have to wait too long to find out. It was a dark disco dancefloor in hell and I wondered at the end where he would go next. The last time we heard from Ty Segall, he was diving into a world of synths on his previous album Harmonizer. Ty Segall returns with a mainly acoustic trip that passes through shades of plaintive yet melodic desire, casting an irresistible spell as it goes.

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