Parenthood, it seems, has not diluted the wayward spirit of avant-pop duo and real life partners, Merrill Garbus and Nate Brenner, aka Tune-Yards. This sixth studio album sees a return to the rawness of breakout album (the second), W H O K I L L. It’s a winning choice to strip things back a little and let Garbus’ incredible contralto soar, leaping octaves. It’s a hell of an instrument in its own right: soft, sweet and plaintive on the eerie ‘Never Look Back’; fiery and electric on the startling half-punk, half-spiritual ‘See You There’.

Of course, they’ve always flirted with genres. So while ‘Heartbreak’ – a kind of lullaby for the AI generation – fuses glitch pop with funk basslines, there are nods to Prince in the percussion of the joyful ‘Limelight,’ complete with the giggling, gurgling toddler of the pair. But it’s not mere whimsy; ‘Perpetual Motion’ lurches into absolute dissonance, and the title track judders and clanks like industrial machinery.

Lyrical concerns too focus on the personal as political, with Garbus questioning the meaning of self, and an existential restlessness can be found in every corner. It’s as though Garbus is wondering about her child’s future in an increasingly unsure world. But “dreaming,” as Blondie once asserted, “is free”. Tune-Yards seem to be leaning into the kind of ideas from creative play as a safe place to land. I’m not disagreeing if this dynamic and visceral music is the fruit of their dreams.