Scottish-born Berliner Rudi Zygadlo’s music is the sound of a smashed ballerina box that’s been patched up by a producer of experimental electronica. Tragicomedies reflects a maturation of what can soberly be called the post-dubstep sound. Zygadlo’s second album demonstrates the genre no longer needs to cling to the novelty of obnoxious and overblown electronic instrumentation; a novelty that unfortunately mainstream producers are yet to tire of. Zygadlo’s baroque piano progressions are integrated into fractured time signatures, and electronic production is applied with discretion. It’s a pretty perfect record; comparable with ease to the work of pop-rock extremophile St Vincent. Melpomene, Russian Dolls, and Catharine are the standouts if you’re pressed for time; although longtime listeners will recognise Catharine from the earlier Achtung EP.