Sub Pop made a bit of a statement by signing up Shabazz Palaces last year and releasing the glorious Black Up, after the popularity of it and wave of positive reviews it seemed like another light bulb went off in their heads. Let's see if we can try and recreate this quality with another artist. Enter Johannesburg native Spoek Mathambo who dabbled in afro-futuristic electro-rap. His real name is Nthato Mokgata and he's bit of a creative eccentric, not following any specific genre or style. He just makes a sort of music which feels like it was created aboard an alien mother-ship, sounds are bent, twisted and probed in a bizarre fashion, its as bizarre as his actual fashion, just google his images. Its like he's a cross between DJ Jazzy Jeff and Geordi Laforge.

Spoek had already released his debut in 2010 titled Mshini Wam, this was full of dark tales from depths of South Africa picking upon points of the everyday struggles and waxing lyrical about them over a style of sound he labelled as township tech. Father Creeper has a bigger scale to it as it's even more inventive and complex in its construction. When listening through it feels like Spoek has used every instrument he could think of in the production on this album, it seems Sub Pop put a lot of faith in Spoek as an artist and visionary to produce something special. In some ways that's exactly what he's done.

The first half of the album is upbeat and predominately electronic, drums are high tempo and the production is reminiscent of Xxxchange and the work that he did for Spank Rock's debut. The beats are off kilter and songs can suddenly change in an instant because of this experimental style of production. 'Put Some Red On It' plays like it's three different songs, Spoek delivers slow Americanised verses over heavy synth bass, and then hits a spit fire chorus when the beat speeds up. At one point he then attacks the tribal drums with an African styled rap. This is just a small taste of how diverse Father Creeper can be.

There is a live band dimension to Spoek Mathambo's work as well which you don't really see coming until 'Let Them Talk' featuring female vocalist Yolanda. Its a funky pop song which draws on the influence of British indie rock with help from the guitars and drums. The last half of the song is an instrumental breakdown where the live band comes together to make a fantastic and vibrant sounding outro. The impressiveness of Spoek's innovative mind speaks volumes in songs like this and 'Dog To Bone' which contains surfy styled guitar that you would more likely find in a Vampire Weekend track. It's a daring attempt to combine genre's like African Maskandi with American Surf- pop but Spoek pulls it off so smoothly that you think you've been listening to a hybrid like this for years.

Influences from popular genre's like dubstep and house are clear towards the end of the album in tracks like 'Skorokoro (Walking Away)' and the title track 'Father Creeper'. However these aren't obvious when listening to the songs, because they are mixed in a pot with Spoeks own township tech style. This makes the album a far more interesting listen as you have no idea what kind style the next song will be, each track is a constant surprise and rarely a disappointing one.

That dark element to Spoek Mathambo's work which was shown in his debut is still noticeable here through his lyrical content. There are songs about greed and corruption ('Venison Fingers'), the popularity of blood diamonds ('Put Some Red On It') and even very dark tales of love and obsession ('Stuck Together'). That darker side still remains for album closer, where Spoek brings his live band back for a heavy bluesy number called 'Grave'. A great ending to the album where he sings about dying love in a tone which would be familiar to N*E*R*D fans.

Just like Shabazz Palaces last year, Sub Pop have conjured up an artist from the relatively unknown and produced a release which will be probably classed as an under rated gem when it comes to album awards at the end of the year. Father Creeper is an innovative and refreshing listen, that if given a try will appeal to so many different audiences from fans of hip-hop, electronica, house, dubstep and indie-pop. It has the ingredients of new African music mixed together with the wests most popular genres; a dish everyone should have a taste of.