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Following some ear-catching manoeuvres across releases like last year s self-released Only and Lagata , which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), Tommy marks Klein s deepest plunge yet into the “deep, dark ocean” of her musical imagination on her Hyperdub debut. On Tommy her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. Tommy also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy. There s a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is