I don't always interview people first thing on Monday morning, but when I do, I try to make sure they're as engaging as Obaro Ejimiwe, the man known as Ghostpoet. The worst thing about the whole arrangement was that he and I had already done this a month ago, and I lost the entire thing due to a technical screw-up on my end, leading to much frustration and gnashing of teeth. It's something which actually happened to me on other occasions last month as well, but thankfully I had managed to get it sorted out by the time I called him up. I sound tired; he doesn't. As I explain to him, this interview is literally the first thing I've done that day. I'm surprised to hear he's in London; he's actually in between tours. He's got quite a packed itinerary as well: "Germany, bit of Austria, bit of Switzerland, and then the UK for the second half of May [and the first half of June]" he tells me, with all the fresh-faced enthusiasm of a man who's enjoying the promo schedule for his new album. Some Say I So I Say Light hits shelves on Monday, so you'd expect him to be pretty busy with rehearsals and whatnot.

He is; by the time you read this, he'll have kicked off the European leg of the More Light tour; I ask him how his music is received in Europe, and whether the fans react differently to it than the UK ones do. He's diplomatic in his response: "In a way, yes; in a way, no. I guess it boils down to whether they've had the chance to listen to it for a period of time, if they know the lyrics, or know the melodies of the songs. I've always got a good-to-great reception every time I've gone to Europe, so I'm lucky in that respect. It's nothing like playing to your 'home crowd', but Europe's always been fun, and I hope that people who hear the second record go back to the first - and also that more people get a chance to hear the new one this time. As long as I'm enjoying it, and the band are enjoying it, then I'm happy, but if the crowd love it as well, then it's a bonus." It sounds like the tour is going to be good fun for him, and when I ask him what it was like working with producer Richard Formby, he's similarly enthusiastic about the experience.

"I wanted to work with someone who'd help more with the technical side of things. He just sat in the background and wasn't trying to push ideas onto me." Formby also reintroduced him to analogue production: "It was the kind of inspiration I was looking for." Ejimiwe self-produced his 2011 debut Peanut Butter Blues & Melancholy Jam, and he's in agreement when I suggest that Formby's presence was more for refinement than anything else. "I guess 'refinement' is the right word; being in a studio also helped my creativity and put me in the right mindset to create the record. I wouldn't say I'm an amazing producer" he admits (personally, I think he did a fine job on his debut), "but I had a clear idea of what direction I wanted to go in, I just needed someone to help refine what I was trying to make."

Our conversation seems to centre around the idea of 'making', but there's also plenty of talk of things being remade. I bring up Squarepusher's remix of recent single 'Meltdown', telling him that I can kind of see how someone like him would impact on Ejimiwe's music, but also that, in relation to that remix, I'm sometimes like, 'how did that happen?!' "Well" he says, "I met him something like a year and a half ago, at a festival in Bristol, and we just chatted about music and stuff. He was interested in my music, and that was a bit mindblowing because I'm a massive fan of his work. We decided to keep in touch; then when the first single [from the album] was being decided, and the remix discussion was going to happen, I said, 'Let's ask Squarepusher, see if he's up for it,' and lo and behold, he actually was! It's a real honour; for me to have a remix from Squarepusher is a dream come true." Ejimiwe got to work with various other people on the new album, and when we get down to discussing that, my line of enquiry focuses on Tony Allen, who happens to be one of my favourite drummers.

"I worked with Tony Allen on two tracks, one which made the album ['Plastic Bag Brain'], and one that I think is a bonus track, of sorts. It was great to work with someone who I admire deeply. I'm a massive fan of Fela Kuti and Aforbeat, as well as Tony Allen and the work he's done away from Afrobeat, so that's something that'll always stay with me - seeing him coming down to the studio and doing what he does. He's a legend; I'm really happy with that, and I'm really happy with everyone that helped on the record [Lucy Rose, Woodpecker Wooliams, et al]. They're all legends to me, because they really brought something to the record that I physically couldn't do myself; it's very much a trial-and-error sort of thing when it comes to playing a piano, or guitar, or anything; so it was great to have him [Allen] and everyone else on the record.

Ejimiwe's been keeping himself busy in between albums. too - he's done some remix work in his time, and I mention the remix of alt-J's 'Matilda' he did for the deluxe version of their An Awesome Wave album from last year. The band have known him for a while, and I ask him what it was like to have them open for him when he played Dublin in February of 2012. (Things have certainly changed for them; to put that in context, they played a 230-capacity venue here when they supported Ghostpoet last year, and on Friday they sold out the 1500-cap Olympia Theatre.) "Brilliant!" he responds energetically. "I'm not at all surprised by their success, because they're a great band. I first heard of them when I was supporting Metronomy at a gig in York, I think. They were the first band on... they were called Films back then, I think. I was blown away when I heard them; 'These guys have really got something.' They sent me some demos to listen to, and then when it came to picking the support for my tour, it just made sense [for it to be them], really."

Aware that we have to finish up soon - Ejimiwe's PR told me he had another interview at 10am - I decide to ask him one last question: what influenced him when making the record, on a musical level? "I'm not really interested in being interested by other music; they've done their thing, and I want to do mine" he responds with as much conviction as you might expect from a man like him. "I don't want to be a magpie of music. I just want to create my own stuff - even if it's basic or not seen as a true work of art. It's me: my emotions, and the emotions I pick up from other people; just the immediate world around me. That's the only kind of influence I allow to seep into my music." On that note (with a promise from Ejimiwe that he'll come back to Ireland later in the year), we finish up. I'm still only half-awake at this point, so I'm able to get some more rest. Not so for Ghostpoet, however - things are heating up for him, but he'll probably face everything with his usual cool demeanour. His new record may be inward-looking, but its music will undoubtedly have a wide reach. You never know: we may just see his name up in lights before the year's out.

Some Say I So I Say Light is released today on PIAS Recordings.