The cut sits somewhere in the Frank Ocean school of song writing – it may only be five minutes or so, but it’s not far (stylistically) from his magnum opus of a track “Pyramids” – they share a husky vocal, counter-intuitively disturbed rhythms and a killer guitar solo. But where “Pyramids” favoured the kind of simplicity that Hynes does so well, albeit it in his own idiosyncratic way, “Bet” revels in uncharacteristically complex production: reverb-heavy vocal samples layer under Tinashe’s yearning timbre, almost drowning the trap beat that claws at the underside, adding a frenetic, stuttering edge to the whole shebang.

It’s Tinashe’s fiercest and most intriguing piece of work thus far – she’s previously remained in the shade of other, more experimental RnB singers: lacking the emotive prowess of Jhene Aiko, and the sultry, borderline lewd sexuality of Miguel or the Weeknd. “Bet” lands a striking blow to anyone who’d care to question her ability, and bodes frighteningly well for the future. If Aqurius can maintain this level of quality we might well be seeing her at the game-changer end of those ‘Best of 2014’ lists.