The Amerindian producer returns with another set of dense sound collages. Following the unsettling dissonance of 2016’s Demon Cities, this self-titled release returns us to the chaotic and emotionally charged landscape visited in 2015’s American Drift.

This time round, Crampton has drawn even more on the rhythmic traditions of her Andean heritage. These include styles such as Kullawada and Huayno. Though complex, they are made for dancing, and have an almost celebratory feel. This creates a particularly brilliant contrast when paired with Crampton’s metal influences, which feature throughout. Moscow Mariposa Voladora’s heavily processed power chords have an air of the apocalypse about them, pulsing mournfully beneath an industrial racket of snares and smashed glass. Elsewhere, the rhythms speak for themselves. Solilunita is largely percussive, a storm of ritual drums and metallic clatter which bleeds with urgency. It’s a sharp addition to an album which, considering it’s under 20 minutes long, makes a very full statement – one which cements Crampton’s status as an exciting and wholly unique force.

Xavier Boucherat