From her previous two albums, we know Sudan Archives to be a bold, alternative multi-hyphenate violinist, singer and rapper. With The BPM, she adds the role of executive producer as she packs up her vocal and composition skills, and pivots to electronic dance music. Opening track ‘Dead’ (the record’s most impactful piece) is a theatrical introduction to the album’s dance-forward palette, revealing earth-shattering bass and drum loops after a cinematic prelude played on the artist’s signature violin. As we move through the track’s multiple arias, it’s apparent this is a step into something more experimental for Sudan Archives; a big swing akin to FKA Twigs’ Eusexua or even Charli XCX’s Brat before their mainstream success. In many ways, this is a sound-system album that belongs in the dark moist corners of a strobe-laden club.

Yet, with its aggressive beats, prickly lyrics and cinematic string arrangements, there’s something more introspective and confronting at play. While the Chicago and Detroit-inspired club sounds heard in many tracks tie back to Sudan Archives’ roots (the respective cities are her parents’ home towns), many other genres are explored, from Celtic-sounding violin hooks in ‘She’s Got Pain’ to jazz and funk sensibilities in ‘Los Cinci’.

The punky rap we heard in her 2022 album Natural Brown Prom Queen returns in ‘Ms Pac Man’, mixed with a more abrasive trap beat and juvenile lyrics (‘anyway, round two, so sick pee yew breeze through’). In other places, lyrics are more sweeping and metaphorical while remaining simple and repetitive, only occasionally bearing something more soulful. At times they touch on themes of sexuality and romance, at others on technology and mental health. In all instances, the instrumentation, which is expressive and dynamic in its production, is prioritised, even if melodies don’t have the same sticking power as on previous records.

Sudan Archives: The BPM is released by Stones Throw on Friday 17 October; main picture: Yanran Xiong.