For all the appeal of Lord Huron’s elegiac, ethereal Americana, Fleet Foxes and Bon Iver were ahead of them in a very crowded field. So after two albums of hymnal beauty with acoustic guitars – and a track, The Night We Met, popularised by Netflix – the Michigan band led by Ben Schneider have changed course.

Now on a major label, the songs no longer conjure up vast rural or mountainous landscapes but the even more widescreen spaces of the cosmos. The title means “black void”, and vast swaths of reverb and echo (sculpted by Flaming Lips’ producer Dave Fridmann) create a celestial wall of sound; many of the songs have astral themes or metaphors. Writing on bass guitar has given the music a more powerful chassis, from Killers-like throb to subtle funk. Any remaining acoustic guitars have been blasted beyond recognition.

The Balancer’s Eye (“I will see you again on the astral plane”) is cosmic pop, while Wait By the River – all doo-wop croon and twangs – and Secret of Life are reminiscent of Roy Orbison and Chris Isaak respectively. Schneider’s best songs tap into the desolate beauty of the loner, who now has a much bigger universe to get lost in. Although Ancient Names (Part I) is a convincing surging rocker, Schneider is best at penning sparse, delicate songs, which gaze at the stars and ponder life, death, the universe and everything, and the likes of Lost in Time and Space are truly lovely.