On his second album, Some Say I So I Say Light, he pushes even further in all directions than on Peanut Butter Blues, mixing the abstract and the concrete with uncanny skill. Industrial beats, sonorous piano lines and hyper-detailed ornamentation provide a backdrop for an artist who sounds ever more like a man old before his time, whether intoning words so laconically it's virtually spoken word or croaking out sung melodies. At times, Ghostpoet's vocals seem to deliberately recede into the flickering shadows of the music, though this doesn't lessen their gravitas in the slightest. The lyrics that come through are as rooted in everyday life as ever, though: from unopened mail to takeaway meals, Ghostpoet is never less than completely identifiable. It's an album that positions him in the tradition of modern British auteurs as interested in pushing the boundaries sonically as expressing cathartic feelings, from Tricky to The Streets.