Or ‘Oh you’re so self-aware Jens', as this could have been titled. With droll tales of his life in Australia and stalking Kirsten Dunst, this EP demonstrates – if evidence were needed – that Jens Lekman is a very self-aware individual. What makes the songs on An Argument With Myself – indeed, what makes Jens such a unique voice - is the way he recounts the minutiae of people’s lives, here obsessing over things that have gone or that cannot be had.

These are a series of songs that didn't fit the mood of his forthcoming record and have been billed as ‘a little taste of what's not to come.’ That’s not to say the quality isn’t there - these five songs show everything that is great about the pop dramatist.

Melding seemingly tacky sounds with quirky, witty, emotionally resonant stories, Lekman’s brilliance lies in his charm and sincerity. His stories draw you in, providing one-liners that will have you laughing at one point, crying the next and quoting all of them to people and pretending they’re your own lines. Are these true stories? Do we care? Take ‘Waiting for Kirsten’ which tells the tale of discovering that Dunst had recently name-checked him in a magazine article as he tries to stalk her down in Gothenberg; inevitably his quest is in vain. The lyrical quips are all here. 'Cause times are changing Kirsten, Göta Älv is slowly reversing, They turned a youth-centre into a casino, They drew a swastika in your cappuccino’.

It’s easy to see why these songs have proved popular on Lekman’s recent tours. The title track’s calypso charm and quotable ‘Shut up, no you shut up’ provides an exquisitely told tale of life in a foreign country with the lines about the drunks “pouring out like a tidal wave of vomit."All this is given added depth and timbre by Lekman's exaggerated delivery. His every song seems to de-construct what song lyrics are about.

The waltzing of ‘The Promise’ about a close friend touches on social and political criticism (‘new laws quoting quotas they have to fill’) while the joyful opening brass of ‘New Directions’ give way to a stuttering rhythm and irresistible female sung chorus. ‘So This Guy At My Office’, with its reggae rhythms, gentle flute and laidback ‘la la las’, is a calming way to end the EP.

What you’re left with is a richly mapped out EP that sets us up nicely for a full album – and a reminder of how lucky we are to have Lekman’s unique voice serenading us.