Much has been made of the struggles musicians face when they become mothers – but what about the inspiration? Bat for Lashes, Logic1000 and others discuss the radical energy unleashed by the ultimate collaboration

The year my son was born, I spent a lot of time walking laps of my small ground-floor flat in a milky, slightly hysterical state of sleep deprivation, listening to a set of instrumental albums by Raymond Scott from 1962 called Soothing Sounds for Baby. YouTube helpfully let me put them on repeat, between scratchy loops of synthetically produced white noise.

“Yes! I listened to Soothing Sounds for Baby too!” says Natasha Khan, AKA Bat for Lashes, whose daughter, Delphi, is now three. “Delphi grew up on instrumental and ambient music – a lot of synthy 80s stuff and Japanese composers.” Khan’s new album, The Dream of Delphi, is her own sonic celebration of those sleepless days in early motherhood, with tracks such as The Midwives Have Left, Her First Morning and Letter to My Daughter. “It’s such a hallucinatory, liminal experience that documenting seems to be the only thing you can do,” she says as we video-call on our sofas, talking about the psychedelic transformation that is motherhood.

If I lapse, the anxiety spiral is immediate and horrendous. I am glad to have stepped off the rollercoaster

I hate to come over all Mark Zuckerberg so early on in proceedings (although I am available to battle Elon Musk, should anybody call on my services), but I don’t drink caffeine.

In fact, I haven’t really drunk caffeine since I got pregnant with my son (who can now ride a bike and spell “sprightly”; this is apparently how I measure the passing of time). For more than seven years, I have survived on rooibos tea, decaffeinated coffee and the occasional plunge into something herbal. I do also drink decaf tea – and it has improved a lot from the grey, slightly-tuna-smelling variation my poor mother was forced to drink in the 1990s when her menopause hit early and all hope of sleep disappeared like smoke.