You may have heard of Matias Aguayo before now. You may not. If you have discovered him at any point within the past two years, however, it's more than likely that it will have been through his guest appearance on Battles' 'Ice Cream' from Gloss Drop in 2011. The New York math-rockers brought in some colourful guests for that album, so Aguayo found himself in good company, as he himself has had quite a colourful career. He turns 40 this year, and decamped from Chile to Germany in the 90s to pursue his left-field dance vision. He used to be adept at sonic minimalism, but has decided to fill his new material with as many things as possible.

This is why, over the course of his third solo album The Visitor, even his most straightforward-sounding songs are extremely busy, but never to the point that they become cluttered: 'By the Graveyard' gets six minutes out of front-and-centre percussion and an unshakeable groove, its melodic side pushed into the background. The melody's there, holding everything together, but Aguayo can focus on whatever element he likes in his tracks and make it work. His newest album, therefore, finds him indulging in copious experimentation. His time spent in the world of techno has made him all too aware of the sub-genre's rhythmic limitations.

He chooses to write 'Llegó El Don' in 3/4, and it works extremely well, despite being rather unconventional for this kind of music. His rapid-fire Spanish delivery on the likes of 'Una Fiesta Diferente' and the particularly frantic lead single 'El Sucu Tucu' adds an irresistible sense of energy to those tracks, and the percussive blast of 'El Camarón' is just plain brilliant, with the barriers of language broken down by enthusiasm that's infectious, and comes through even more clearly when Aguayo opts to give his vocals a rest. It's no wonder that he decides to take a breather on 'Do You Wanna Work', because while his music may not be full-on all the time, Aguayo's vocal presence certainly is.

The album reaches its highest point on 'Levante Diegors', Aguayo adding an almost hip-hop delivery into the mix as sparse melodies combine with many different types of percussion for a particularly intense but rewarding experience. While the follow-up to 2009's Ay Ay Ay may not be as thrillingly inventive as its predecessor, its best moments are on par with Aguayo's finest work, it manages to retain the sense of fun and musical dexterity he has become known for.