"Flying Wig" is an album of recurrent dualities; a can of paradoxes, a box of worms. The pine-surrounded cabin studio where Banhart was “constantly listening to The Grateful Dead” somehow birthed something slick, city pop-adjacent and eno-esque. It’s the actualisation of a “precious friendship” with producer Cate Le Bon - a coming together prophesied by the mirror-image titles of their early solo albums (Banhart’s “Oh Me Oh My” / Le Bon’s “Me Oh My”), a tenderness built on crude haircuts (“we finally met, soon after she was cutting my hair with a fork and that was that”) and home-made tattoos.
