It becomes clear very early on into Tripping on Wisdom that Jade Pybus is more than just a pretty voice. The young vocalist from Bethnal Green-via-Hitchin (with a healthy dose of Brighton influence in-between) is one completely in control of her craft, supplementing her off-centre, bittersweet compositions with snatches of field recordings and a fantastic ear for collaboration. Many may have first encountered her on Lapalux's When You're Gone EP, augmenting 'Moments' with her floating, eerie harmonies, and it's a strong dose of that aesthetic that she applies here.

Releasing Tripping on Wisdom as one unbroken, blended mixtape (under her Py alias) drives home the elements of mood and movement that abound in Pybus' music – not fast-paced kinetic energy, but the steady passing of the outside world as viewed from a train window. The tracks sway from the deep, muted house of 'Whispers' (feat. iO) to 'Withdraw the Ambassador''s brooding trip-hop, its menace emphasised by dark production from Breton and Py's scalding lyrics ("I've swallowed secrets up for you / like parasites, they live in me"). A host of guest producers are on board, each one shedding different shades of light over Py's sultry vocals, which themselves could be stylistically filed next to the likes of Anneka, Kathrin deBoer from Belleruche and Martina Topley-Bird (there's more than a hint of Maxinquaye's creeping furtiveness on Tripping on Wisdom).

The mix itself opens with a twisted interpretation of Louis Armstrong's 'What a Wonderful World', given an disconcerting rework thanks to some unsettling harmonies and some lyrical alterations. The interlude is returned to sporadically throughout the release, serving as a segue between tracks, with elements of Py's own field recordings of ambient street noise layered underneath it.

'Lungs' is deep, sleepy house; producer George Fitzgerald's muted chords acting as a sonic bed on which Py's harmonies are seductively draped. 'Black Magic' is of a similar ilk, Kadabrah adding a syncopated jolt to the filtered keys and ambient house palette.

'Crowns' drops the tempo, with producer Greenwood Sharps carefully placing guitar chords and spare percussion underneath Py's distant vocal, slowly wrapping the track around her like layers of cotton wool, while Damu's broken hip-hop beats cause 'Blind' to skip and jump, its thick bass and blasts of synth setting off another defiant lyric.

Getting Throwing Snow on board to produce 'These Strings' was a real coup, his way with an arrangement really shining through the builds and drops, before the mix slides into the off-kilter syncopation of 'Marigold – a disjointed and lively track highlighting Py's unnerving harmonies once again.

Raffertie closes proceedings with a mutating and twisted beatless symphony, all drifting strings and Py's distant wails; a delicate and unnerving ending. Despite how naturally these tracks work as one interweaved mix (with a little help from Caspar Kedros), some of them are perhaps too strong to be buried in the middle, at the mercy of the modern day twitchy iPod track-skip trigger finger. But it's a very minor criticism of an otherwise adventurous and admirable release.