AS the lead vocalist of pioneering synth-pop outfit Ladytron, Helen Marnie’s contribution to modern pop has been nothing short of illustrious since the turn of the century. After re-locating to Glasgow in 2012 in pursuit of a fresh start and creative fulfilment, the frontwoman proved her credentials as a solo artist with the release of her critically acclaimed debut album Crystal World; a deeply introspective and emotional collection of songs described as her most personal record to date. Four years later, the singer is now back with her second full length offering and it finds her in a different place; bigger, poppier and more confident.

Following the promising foundations put in place by its predecessor, Marnie’s sophomore record cements her reputation as a musical pioneer in her own right; Strange Words and Weird Wars is a deeply melodic and artful take on modern pop which finds her pushing boundaries while building on the plethora of influences that have informed her entire career. While Crystal World betrayed an emotional depth and fragility across its shimmering synths and atmospheric palette, its follow-up finds Marnie establishing her own solo identity – beefing up the electronic patterns of her earlier material with big, upbeat pop moments and danceable beats.

The album announces itself with epic opener ‘Alphabet Block’; a deliciously melodic chart-bating number which rides over pulsating synths and shimmering vocals before flowing into the equally rousing ‘Bloom’. Throbbing with synths, its repetitive lyrics and hook-laden choruses ensure that it is left ingrained in your consciousness like any other catchy pop song. Continuing to set the mood for what lies ahead, the fast-paced dancefloor banger ‘G.I.R.L.S’ hits you with its vocal layering and cheerleader-like chanting, reminiscent of La Roux and Ladyhawke in its sparkling execution.

Underneath its pulsating electronics and dreamy melodies though, the album retains an emotional core which stems from Marnie’s distinctive delivery. Icy cool yet heartfelt and vulnerable, her vocals are the driving force of the album, lending an emotional depth to its poppiest moments. Her ability to weave an underlying sense of melancholy and anxiety through its vibrant production is a sign of her accomplished abilities as a singer, songwriter and instrumentalist; long distance relationships and mortality often forming the themes of these brightly packaged pop tunes.

The brooding and menacing ‘Walking Home Alone At Night’ considers the fleeting difference between life and death through a girl’s harrowing experience of being alone at night. Elsewhere, ‘Summer Boys’ looks back on memories of the past, favouring pounding drums and gothic soundscapes instead of rose-tinted nostalgia.

The two tracks which capture the album most effectively however are ‘Electric Youth’ and ‘Lost Maps’. The former is a gloriously retro piece of synth-pop which marries eighties power pop with contemporary soundscapes and a rousing guitar riff, while ‘Lost Maps’ is an enthralling dancefloor filler that comes armed with a powerful battle cry. “Is there anybody out there speaking the truth? Don’t believe what they tell you” the singer declares over crushing percussion and dazzling synthesisers. Reverberating with a familiar sense of anxiety, it’s a powerful and sophisticated composition that pairs her hook-laden melodies with a deeply stirring edge before a cathartic release on the chorus.

Steeped in its influences yet decidedly contemporary at the same time, Strange Words and Weird Wars is an addictive collection of meticulously crafted synth-pop. Straight from the same book of influences that brought us Robyn, it’s an album that swells with emotion while simultaneously making you want to get up and dance. There may be nothing ground-breaking at play here but this is an accomplished yet uncomplicated record from an artist who is becoming increasingly confident in her own identity as a solo artist.