Half-Swiss, half-Ghanaian electro-chantreuse extraordinaire Oy, draws deep from the found sound springs for her sophomore LP, Kokokyinaka, inject tales and memories she's gathering on trips around Africa with the clatter of washing machines, the harsh scrape of sharpening knives and smacking fufu (a kind of dumpling, before you snigger). It's overwhelmingly personal, satured with snapshots of world-weary experience and the avante-garde experimentronica you'd expect to be emanating from a seedy NYC studio apartment or a SE-London basement. It's the calling card of Joy Frempong (the lady behind Oy); she creates rich, texturally brilliant sounds steeped in African culture and tradition, and then hurls it into a sticky pot of synths, bleep-bloops and whirring samples. The result on Kokokyinaka is a far-flung album, spread thinly across countless genres including rap, soul and noise-pop.

Oy opens and closes her record with spoken-word passages, giving her thanks and paying respect to people who helped – including her unborn children – and explaining how to pronounce the title of the album (coco-chin-aka). It's an unusual overture, and the bustling bus background adds to the overall world she's conjuring throughout the record, but perhaps they would've been better as album liner notes to cut down on the track count though, as 19 is pretty hefty for an album. Strident synthy stabs signal the arrival of first proper cut 'Akwaba', an indie-house effort with woodwind melodies and semi-rap vocals. 'Gyere' is primarily vocal harmonies, similar to the doo-wop or jazz of the 40s and 50s – however, halfway through, the words peter out and the silence is filled with ambient electronica. 'Market Place' is a thriving, exotic throng of samples and bursts of sound – car horns ricochet between Oy's soulful vocals, and clips of speech penetrate backing 'oohs'. It's pretty messy, but that seems to be the intended effect, keeping with the "life is a market place" metaphor she cultivates on the track.

There are plenty of numbers in this sonic collection that are pleasantly coherent, even if they're a bit skewed or hodgepodge-y. However, not everything on Kokokyinaka follows that path. A trio of songs are less than a minute – 'Funny 2' seems almost like an electro-polka version of the hook in 'Milkshake' by Kelis', and 'Carbreak' is a bird-filled soundscape. 'Chicken Beer' features dissonant synths and pitch-shifted vocals singing chromatic scales – it's an over-busy salmagundi of half-formed lines and segments of voice that are deeper than Tyler, The Creator's register. 'My Name Is Happy' is a weird, entranced barrage of nonsensical lyrics – it feels like the propaganda/subliminal advert of a campy 60s supervillain. Gloomy, tense keys worm their way across the EQ beneath Oy's various claims, and the end result is something quite unnerving.

The sound has grown from her first record, First Box Then Walk. She's developed in the three years since, gathering more samples and wider experiences to infuse her noises with an informed, mature heart. There was more hip-hop on offer and copious amounts of scat-singing, now she tends to lean towards the electric, potentially due to the collaboration with producer/drummer Lleluja-Ha, who's assistance with writing has aided Oy in creating something laser-guided and precise. A percussive change is also felt. African drumming has always been famed for polyrhythms and masterful interweaving beats, and he brings an added raw dimension to Oy's often strange sounds. The percussion isn't exactly grounded, but it adds an earthiness and a base for Oy to leap off from.

Kokokyinaka is an erratic record. There are some moments that genuinely shine, and the more standard approachs to sound and genre go down well, but mixed with paeans of aloofness it ends up hit and miss. Maybe if there were two separated records here – there's probably enough material for that – then they would each serve themselves better, but mixed together it's unfocused and difficult to get into the mindset for. Clearly Oy has something to say, and this album is a great trek through different cultures and sounds, but it's a bit too all over the place to be a classic. A good editing process may have helped trim the fat here.