Somewhere between a manic troubadour, a conceptual artist and a journalist of the Apocalypse, American experimental electronic musician James Ferraro’s albums have gained iconic status since the early 2010s, fluctuating between pop songwriting and the aesthetical avant-garde.

From his surreal and hypnagogic (in particular leading David Keenan to declare his music of the time as being ‘hypnagogic pop’) period of lo-fi music in the 2000s to his more conceptual and emotional works in the present that have delved into R&B, contemporary classical, sound collages and overall avant-garde electronic music, he’s either been the subject of scrutiny from fans who expect him to be consistent, or regarded as a strange but sincere artist expressing social experience and progress in his own way.