Charlotte Adigéry has fingers in a lot of pies. The Belgian-Caribbean artist isn’t particularly easy to slot away within her electronic scene, and that’s clearly just the way she likes it. Her new EP, Zandoli, which features a co-production assist from Soulwax, clearly delves into tech-house; her beyond danceable melodies unfurling into disco with shades of more blatant club-leaning. Yet, she never goes for easy rewards.

Drawing inspiration from her Caribbean ancestors’ musical traditions, feminine causes new and old, and her own experience, despite its relatively brief runtime, Zandoli can feel like a lot. This isn’t to call it overbearing, on the contrary, the always-giving material found here is just enough of a great thing.

The project’s genesis itself befits our current moment with absurd perfection: before ever hitting the studio with key collaborator Bolis Pupul, the two matched via Tinder. Popul, a descendant of the first (and only) wave of Chinese immigration to Martinique spoke for, and of, an entirely different, yet intrinsically connected, experience and tradition than Adigéry’s, from an alien place she could immediately understand. Exploring their disparate yet shared histories formed the backbone of Zandoli.

Nearly consumed in the spirit of the Caribbean, even the project’s title stems from something only locals are likely to understand: a zandoli is a lizard often found living around homes in the area.

None of this is to say the project is indecipherable or impenetrable for us outsiders. To the contrary, the warm spirit of the music here makes for some of the most inviting electronic music in recent memory, with Adigéry’s talkative, gentle vocals lulling the listener quickly into her world, backed by expansive yet often deceptively simplistic grooves.

The tracks all explore spiralling worlds of thought, with single ‘High Lights’ exploring a love-hate relationship with synthetic hair. Adigéry explains; “Hair is such a powerful organ, and it’s a very powerful way to express yourself. Black women have been playing with their appearance and hair for decades. I want to honour that culture.”

EP closer, ‘Okashi’, on the other hand, imagines some acid-like drug, spinning its spell with, “A single drop will raise your earliest memories/ A single drop could be the quickest remedy,” only for Adigéry to remain more somberly aware: “nothing can truly bring you back to those experiences.”

To be clear, Charlotte Adigéry is far from a moralist. For her, the grave is inseparable from the absurd, the emotional from the laughable. She’s as likely to crack a sly joke as offer a somber observation. Zandoli may explore realities current enough to sear, as well as a deeply complex collective history, but it never takes its finger off the button for graceful thrills. Where some might lose themselves, Adigéry finds amusement; where some might shed a tear, she only cracks a grin. Zandoli is music to smile along with. You might even dance.