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More time doesn’t necessarily express less stress for Adam, though, given that his capacity for overthinking can have the potential to do as much ruin to his art as his morale. Ask him, for example, whether the unhurried conditions making Songs Of Loss And Separation were good or poor for the creative process and his uneasy snicker suggests the topic has been on his thought of late. “It’s mostly negative. The one positive is that there’s absolutely zero stress and expectation when you have no timeline at all, but the negatives are incredible! I had way too much time to pound up the mix and the production of [this album] and I nearly overdid it. When you spend a finite amount of time on something, it feels more ardent and means you move with your gut nature rather than being so critical of yourself. I’m so guilty of doing that with every undertaking. The best records I’ve ever done have been two months [to make] or less, production-wise.”

Despite Adam’s reservations about long direct times, there’s something undeniably fascinating about how Times Of Grace’s albums tackle the fears and frustrations of its creators, made at 10-year intervals, to chart how those authors – and what keeps th