IT’S probably a coincidence, but this Sparks has much in common with the band of the same name during its Lil’ Beethoven era. Dense, complex, music, often uncomfortable and challenging, hard to categorise, but ultimately rewarding.

That said, there’s one huge difference. This is music for the Facebook generation, full of collaborations with fans, from the striking of a match on Lifeline to closing dishwasher doors. It’s also technically innovative and nowhere more so than on Me The Machine, which features ground-breaking musical gloves, or Run-Time, with its contribution from a jogging app. Perhaps The Listening Chair sums up this individualistic approach most successfully.

A unique blend of multi-layered a cappella that Heap says will be added to every seven years and can only be properly finished when she’s dead. This is an artist so breathlessly ahead of time, she reminds you of Kate Bush at her most precocious, and while Sparks may be no easy ride the first time round, it soon becomes a wondrous journey.