Minneapolis musicians known as Poliça have been a forever presence in the music industry since the release of their 2012 debut Give You the Ghost. Constant touring across the globe and an ever expanding loyal legion of fans finds Channy Leaneagh and co becoming one of the decade's most unlikely pop stars. At home in the shadows, Poliça's work has always lent itself to darkness and has indulged in the somber, the morbid, the dramatic.

United Crushers arrives in a world desensitised to experimentation in pop music thanks to the accessibility of Warpaint, The xx, Blood Orange and countless others. This quintet still operate entirely within their own multiverse unattached from the zeitgeist. 'Lime Habit' sounds incomparable to anything that has come before, anything currently circulating and anything likely to be released. It dispels pop convention, linearity and structure while retaining an indulgent danceability and a theatrical frisson created by its anguished synth spine. 'Baby Sucks' sounds like a lost collaboration between Eurythmics and Solange as the band throw together unmistakable '80s bass riffs, a smooth soul vocal against artificial beats.

The introduction to 'Wedding' demonstrates the sparseness found within the production of United Crushers, gone are the omnipresent multilayered sonars of the debut and instead rougher drum beats and more organic instrumentals contrast the supernatural qualities of Leaneagh's vocal delivery. 'Fish' has a complex, slight tone similar to the later works of Róisín Murphy and Massive Attack as the band settle into their confidences. This album is not as immediate as its two predecessors, yet with time you'll find the trip-hop drone of 'Melting Block' to equal the synth strength of 'Chain My Name'; the egocentric pace of 'Berlin' is entirely more engaging than 'I See My Mother'. For an album so drenched in sadness, there is a disco for the downhearted lurking beneath its surface.