Ryat is the moniker of the latest artist to sign to Brainfeeder; a female multi-instrumentalist and vocalist based in Los Angeles-and that's pretty much all we know about her. Very much carrying her label's signature sound she produces uninhibited electronic music in the mould of Flying Lotus, but delve just a little into the auditory cornucopia of debut album Totem, and you'll find enough curiosities and idiosyncrasies to suggest that Ryat has the potential to carve out her own identity.

And so it begins with a cascade of harp and soothing vocal washes that seem to welcome us into a dream sequence, setting the controls for somewhere deep in outer space as Ryat presents her own take on the cosmic drama. Faltering beats and chopped up loops is the order of the day for the first two tracks, 'Windcurve' and 'Owl' sounding like Bjork with attention deficit, frantically searching for an appropriate hook before settling on the subdued and grimy synth that provides the opening to lead single 'Howl'. It initially brings to mind the brooding sounds of Babe Rainbow but like so much of the album, her elegiac vocals kick in to provide a comforting backbone to an otherwise unnerving and chaotic sound.

Throughout Totem, Ryat pays little heed to time signatures or conventional song structures, reeling through an intimidating repertoire of sound collage, shuffling hip hop beats, fragmented IDM loops and the occasional classical flourishes from a ghostly string section. There's a sense that such disparate elements would collapse into incoherence were it not for her beguiling vocals, and nowhere are they more beguiling than in the brilliant 'Invisibly Ours'. The track sees her change tack slightly and utilise a blissful guitar line on top of building reverb and echoes reminiscent of Walls, providing an atmospheric backdrop as her vocals pirouette through the sparseness. By this point in the album you've probably just about got to grips with the off kilter and unorthodox song structures, and while finding it engrossing, you've probably heard it before with Cosmogramma. However, cue 'Object Mob' and the totally unexpected. Perhaps best described, with the risk of sounding pretentious, as free style electronic jazz, it sees Ryat achieve something more original, while subsequent song 'Invisibility Cage' channels this new found identity into a softer sound that conjures up images of Parisian performance art and Dadaism, as you half expect the Cirque du Soleil to walk in at any moment. These final tracks, including the tribal 'Raiz' and the ethereal procession of 'Totem', whose spirits seem to be possessing a host of electronic dials and instruments, draw the album to a conclusion that is as ponderous as it is satisfying. But just as you begin to enjoy the ensuing silence, you'll feel compelled to re-enter.

In Totem we have a host of musical styles that aren't so much mastered as distorted, dilated and merged into a pretty perplexing whole. At times Ryat sounds like a female Flying Lotus (RyLo maybe?), but she still has the ability to surprise and puts enough of her own personality into this to make her an artist worth following, and whose subsequent albums could prove more refined.