There's no escaping it: for Obaro Ejimiwe, this is the big one. The man known as Ghostpoet has come a long way since The Sound of Strangers. The journey's taken him a little less than 3 years, but it really does feel like he's arrived now. His 2011 debut, Peanut Butter Blues & Melancholy Jam was self-produced, given a low-key release and slipped under the radar for a lot of people, at least until it was nominated for a Mercury prize later that year. People started sitting up and paying attention, and while the accolade went to PJ Harvey that year, Ejimiwe had done enough to impact on the public consciousness. Since then, things have changed considerably, at least on the surface: he was been picked up by heavy-hitting indie label PIAS (home to Editors and Young Guns, among others). and entered an honest-to-goodness recording studio with a different producer - no less than Richard Formby (Wild Beasts, Egyptian Hip Hop, Darkstar, etc.) - to begin work on what would become the tongue-twistingly-titled Some Say I So I Say Light. His debut excelled in slow-burning melancholy, but the follow-up is much more varied, and stronger for it.

The lyrical content is just as comtemplative, however: lead single 'Meltdown' is a pained rumination on a breakup that drafts in Woodpecker Woolliams to deliver a knockout chorus; 'Them Waters', meanwhile, finds Ejimiwe bringing a more electronic element into his unmistakeable sound, while he worries, "If I stop to think, it may open floodgates that no key can ever lock." This introspective thread runs through the album, the singer admitting on closer 'Comatose' that 'he feels lower than he's ever been'. Such admissions would call for downtempo music, usually, but the sets the contemplative tone of the lyrics against more layered and ambitious musical offerings. Tony Allen (yes, that Tony Allen) turns up for the hook-filled 'Plastic Bag Brain' and almost steals the show with his drum part; meanwhile, Lucy Rose appears on 'Dial Tones', contributing a hushed vocal that fits the sparse-sounding track perfectly. 'MSI MUSMID' was given away as a teaser earlier in the year, and works extremely well in album context, next to the Gwilym Gold featuring 'Dorsal Morsel', a straightforward yet captivating track that is elevated to diszzying heights by the appearance of burbling synths, and worthy of single status.

Despite stepping up the production value, Ejimiwe has made sure that the studio hasn't had too much of an effect on his sound. The more melodic approach taken on the new record is a natural next step for him, and it still possesses the rawness that suits him best. There are a number of high-profile guests on the album, but it's definitely still his record, an album on which he's paradoxically more sure and more unsure of himself: the musical growth is subtle yet still noticeable - he's able to full off 7-minute epics like 'Sloth Trot' now - while he's already asking, 'Can someone show me the way?' on opener 'Cold Win'. The deeply personal nature of Some Say I So I Say Light if offset by the more accessible nature of the music; on the whole, it's still a grower, but it's a consistently rewarding listen. He hasn't yet decided where he wants to go, but Ghostpoet's going places all the same.