An album, in the streaming era, can essentially be anything it wants to be. There are certain decisions that might be advantageous – making your lead single the first song, for example – but there’s a degree of anarchy that comes with the freedom to click play on anything we want. Case in point: the first two songs on Actress’ new album come and go in about 16 seconds.

Radical Frame is partly exciting because of how random it is: the distorted bass and splattering claps of Live By You with CASISDEAD are completely incompatible with the groovy microhouse stylings of Paris. On the former CASISDEAD weaves between car boasts and traumatic memories (“I’m warped, yeah, I spent way too much time on the ward / saw a nigga try to hang himself with a fucking cord”) while the latter has glacial, contemplative piano chords at its centre, the ghost in the machine.

One of the highlights is Cosmo, with its semi-quaver notes and acidic synth tones. The pattern is divided into two strands, one starting in the mid-range before leaping up by a sixth, the other progressing from subterranean depths to a fifth below its counterpart. The most popular knobs on the synthesizer are played with, as the staccato plucks turn into extended, sonorous polyphony, and the track is bookended by flanged rumbling in keeping with the track’s sketch-like style.

The album ends with a 16-minute song featuring vocals from Rainy Miller – it’s a bit disjointed (and it perhaps didn’t need to be this long) but there’s various enjoyable elements here. Smooth pads, speedy hi-hats, bit-crushed noises and the type of backbeat that’s normally associated with Atlanta bass, a seemingly unrelated ambient coda and the sound of crashing waves – a creative odyssey from an artist with many tricks still up his sleeve.