There are few voices as distinctive in contemporary British music as that of experimental electronic artist Obaro Ejimiwe, better known as Ghostpoet. And after two cult-acclaimed albums, including a Mercury-nominated debut, the London based vocalist and musician is back with his third offering, Shedding Skin.

Interrupting the dapper, characteristically spectacled figure mid-takeaway Prêt, about to tuck into a chocolate mousse that I mistook for a yoghurt, I fumbled over an apologetic introduction by explaining that the last two times we met – in a festival field and a sweaty Cardiff night club – at least one of us was (very) drunk on both occasions. Reclaiming my cool, I asked him about his invitation to DJ at the Cambridge Hub’s Homelessness Aware event at the Union and where he stands on music’s role in tackling social issues. “One of the songs on the new record is about homelessness – I feel like as I’ve got older in London I’ve been seeing far more homelessness than less… and so when I was asked to attend this event out of the blue I couldn’t say no. It [homelessness] kind of hit me when I was writing.”

Hailed for his mesmeric tales of urban existentialism and heartfelt angst mumbled over lo-fi, downbeat and distorted electronica, a brief listen to his new record would suggest that, lyrically, Shedding Skin comes from a progressive place in his personal life. “In the last record I was going through my own shitty times and was more insular, but because I am happier [now] I am able to look out at the world more and observe the problems that people are angry about. I’m not trying to be a sort of Billy Bragg.” He breaks the reflective tone with a chuckle. “But for me it’s just the negative feeling in the air right now. And I do think it’s your duty as an artist to document the times.”

He adds, defiantly: “I’m not trying to say everything is shit. Because it’s not. But you have to be aware of what is going on around you.”

It’s not just wider societal issues that are alluded to in this record, but a sense of a broader palette of musical influence is clear in the electronic/indie rock crossover that is a welcome new feature to the artist’s sound. “I’ve always tried to avoid other influences,” he admits. “With the first two albums I was always conscious of not letting outside influences to come in musically and once I knew that I wanted to make an album with the parameters of guitar, bass, drums and keys I looked to music that reflected what I wanted to make.”

Unashamedly acknowledging the impact of artists such as Nick Cave and The Bad Seeds, TV on the Radio, Joy Division and Massive Attack on the production of the new album, it is reassuring to hear an established writer challenge his own distinct musical direction. And the result of allowing broader musical influences? Hopefully a larger eventual audience, especially in the live setting of his upcoming UK and European tour. “I want to play to more and more people…as much as it is nice to be quirky and weird you only attract quirky and weird listeners,” he teases, before affirming that age-old conundrum of the alternative, genre fluid musician.

“I don’t want to be a niche artist but I don’t want to be commercial either. I made the new album with that in mind; but striking the balance really isn’t easy.”