Whilst Elephant is probably more consistent and Lazaretto more ambitious, the opening run of White Blood Cells is some of White’s best songwriting. There are so many classic songs.

The bitter middle-aged men who would become the protagonists of many of White’s songs in the next decade are nowhere to be seen. The narrators on White Blood Cells are boyish and charmingly naive. White is a master of telling a story based on what he doesn’t say. “I got mud on my shoes”? Whew.

Why isn’t this higher? That tail. The “Immigrant Song” style screams at the start of “Aluminium” are usually my cue to stop listening. Shift “Offend In Every Way” and “I Think I Smell A Rat” up the running order and end this album on “We’re Going To Be Friends”, and it becomes a real top 10 contender. Combine the best songs from here with the best from Elephant, and it’s probably a top 5 album.

An emotional and musical rollercoaster. Dealing principally with heartbreak and heroin, it can be seen as the 1990s equivalent of David Bowie’s Low.

There are songs with sparse arrangements where every line is given tremendous power. There are uptempo numbers where the power comes from the fury of Jason’s voice. And then there’s the title track, with masterfully layered harmonies that build to such a beautiful conclusion.

There are some similarities with Silent Alarm, thanks to the directness of the lyrics: “Little Johnny’s sad and fucked/First he jumped, and then he looked”; “I think I’m in love, I’m probably just hungry”; and of course, the interpolation of “Sam Stone” on “Cop Shoot Cop”. It’s naturally easier to identify with poverty than heroin addiction, but Spaceman manages to give you a subtle and nuanced musical version of his experience to identify with.

Why isn’t it higher? The middle sags a bit, and the lead vocals aren’t great, although that arguably adds to the experience.