No-one has made the crossover from TV comedy star in their own country to internationally-renowned artist in another medium quite like Juana Molina. Except of course Takeshi Kitano, whose switch from giggling host of surreal Japanese Its-A-Knockout knockabout Takeshi’s Castle to deadpan ultraviolent yakuza must surely be the most remarkable volte-face in the history of, well, anything. Molina’s transition to esoteric electronic-tinged folk artist has been effortless, and with this, her fifth album, she has raised the bar yet again.

With Un Dia, multi-instrumentalist Molina tinkers gently with her pallete, aiming to make more explicit the rhythms that have long underpinned her music. This manifests itself in increased use of handclaps, slinky basslines, cut-and splice vocal loops and general repetitive burbliness. The key, however is how well she integrates these – on “Vive Solo” she adds these elements to each other until, before it has even noticed, the frog is well and truly boiled. The opening title track may well be the best thing she has ever signed her name too: she declaims exuberantly over a backdrop of relentless chanting, insistent percussion and Stereolab-like keyboard figures all entangled with sax skronk; it all collapses after five minutes, most likely from sheer exhaustion. Last track “Dar (Que Difficil)” is another standout, a low-key scratchy funk providing a frame for another of Molina’s towering constructions of overlapping vocal loops.

Could she carry this off live? Having seen her a couple of times, I wouldn’t put it past her. I wouldn’t put anything past her; I’m sure she is already rehearsing for her forthcoming film debut as a nihilistic Buenos Aires gangster. For the time being, Un Dia is more than good enough to be getting on with – it is available now from Domino.