Devendra Banhart is the Hare Krishna’s poster boy. Not one to dally with themes of tension, conflict or hatred, but instead composing the kind of fuzzy warbling gems that furry children’s book characters might include on mix CDs for their woodland pals. Having seen his previous two releases garner less than favourable reviews, the weird-fold pioneer returns with What We Will Be. His sixth, and first released under the Reprise label.

What We Will Be opens with a selection of four songs that are tranquil, frolicsome and whimsical, while avoiding the overt absurdity that peppered earlier Banhart tunes. Present are elements of fumbling playfulness, yet overall the songs boast a higher level of maturity and a more elaborate sound. It’s standard Banhart fare.

The album soon drifts from these upbeat roll alongs, to slow, reflective and sparse acoustic ditties. Where once it would be this kind of song in which Banhart would shine, sadly, this is no longer the case. First Song For B and Last Song for B, while light and thoughtful, have a tendency to drift over you without making much of an impression, a vital aspect considering the largely cerebral characteristic that was once the key to enjoying earlier Banhart albums. Maria Lionza is overly dull, apart from the finale that sports a charming, shuffling flow. Brindo borders on lounge pastiche, and could quite easily play in that dark Spanish restaurant you pass on the busy high street.

Lyrically, it’s vague, ineffectual and occasionally quite awkward. Where Banhart would often delight with lyrical quips, there’s few to grasp onto here. Alas, the timbre picks up again once more. With sharp production aesthetics lending a more elaborate and crisp snap that bolsters the effectiveness of songs such as 16 & Valencia Roxy Music. Additionally, Rats is a bass driven thumper, and marks a welcome, albeit brief shift from the stock hippy Spanish tinged lounge fodder.

It’s the slower songs that debit the appealing luster off of what is at times a delightfully phlegmatic and mobile album. It’s somewhat disappointing that the album opens with a treo of superb numbers, only to lose direction on several occasions. Banhart may perhaps have benefitted from reducing the album length. Songs such as Maria Lionza and Walilamdzi, while retaining just enough of a spark to remain interesting, could have been omitted from an album that seems to suffer from identity crises. The final song, Foolin’, goes some way in leaving you with a good impression. It’s a rather excellent ska homage, but by this point you’re quite happy to move on.