As Hyetal - a word that pertains to rainy weather - David Corney released a debut full-length in 2011, Broadcast, that transcended his roots in the Bristol dubstep scene, taking cues from genres as disparate as hip hop and eighties dance, and marking him out as one of the country's most intriguing electronic prospects.

"All the names I'd used in the past always turned out to be shared by about 20 different bands, so I knew I needed something unique," he admits. "I actually ran a Google search for rare words and stuff that wasn't in common use. Hyetal was one of the ones that came up, and I liked the definition enough that I went with it."

This month, he's followed it up with Modern Worship, a record that sees him seek to further develop his sonic palette, drawing from a wider range of influences than previously. "I had the first ideas on the go for Modern Worship just before Broadcast came out. I really had no interest in repeating myself; over two years, things are going to change and my tastes were inevitably going to shift. I'm always listening to new stuff. I'd done what I'd set out to do with Broadcast, and I was ready to do something different. Probably the main way I went about it was to start changing up the tempos; the last record had a range of them, but nowhere near as broad as this time around."

Broadcast was underscored by allusions to 80s dance, and Corney has chosen to expand further in that direction with Modern Worship. "I was listening to a lot of post-punk and new wave stuff. They were definitely the two main influences in terms of speeding things up a bit," he explains. "The first songs I was writing for this record were noticeably faster than anything I'd done before." There's nods, too, to Chicago's 'footwork' scene: "I dipped my toe into a little bit of that footwork stuff too. There's a lot on here that I just wasn't interested in when I was making Broadcast."

When the records end up as such diverse products, it's difficult to envisage how exactly Corney manages to bring some sort of method to the writing process. "It's pretty different every time, to be honest," he admits. "On Modern Worship, I wrote three tracks collaboratively, with Gwilym Gold, which was a completely new experience for me. The stuff I write on my own usually changes in terms of how I approach the music; normally it's just about getting a flash of inspiration from somewhere, whether it's something rhythmic, or a sample, or even a non-musical concept."

The collaboration with Gold marks the singer's first non-solo effort since his former band, Golden Silvers, went their separate ways back in 2010 - it's no coincidence that the one record they did release, True Romance, was heavily indebted to 80s pop. "A friend of mine has seen a video of him performing and pointed me in his direction," recalls Corney. "Straight away, I knew his voice would work perfectly with the stuff I'd been working on, so I sent him an email.

"I think he was a little bit unsure about it all at the outset; he hadn't worked with anybody else since he'd left his band, and I needed to convince him that what I wanted to do was something that would be genuinely collaborative, rather than him just singing on top of a load of dance tunes. When I sent him the stuff I had, he was really into it. The songs I made with him are real 50-50 splits."

Whilst Corney's work with Gold represents his first proper songwriting partnership, he's no stranger to a group effort, with a long history of collaboration pre-Hyetal. "Before I was releasing these records, I put out some stuff that was a lot more club-based, a lot more dancefloor-oriented, and a lot of those, I did with other people.

"Bristol's very good for that; the city centre feels like a pretty small place, and all the musicians tend to know each other," he notes. “I've still got a regular project with Julio Bashmore called Velour, and I've done stuff on Punch Drunk with Short Stuff and Peverelist, who's actually always been a big influence on me. I've worked that way plenty of times where dance music's been concerned, but actually writing songs with other people was something that sort of thrust me way out of my comfort zone."

The strong local identity of Corney's work was only furthered by his decision to mix Modern Worship in Bristol, with James Ginzburg of experimental electronic outfit Emptyset. "The record was self-produced, I suppose, purely because the writing and production processes always end up pretty much intertwined for me anyway. I mixed it with my friend James Ginzburg, who's got this amazing, totally analogue studio in Bristol that's full of interesting vintage stuff, and bespoke units he's had made.

"It worked out great bringing him in at that stage, and I think it maybe brought me a bit of objectivity, because I wasn't quite sure how to go about getting the album finished. He really had a lot of influence, sonically. I'd gotten it to a point where I was almost happy with the songs, but not completely, and a lot of them were effectively still demos at that point. A lot of the work I did with James was just replacing stuff I'd done earlier with software, and using more analogue boxes and equipment that tended to have more in the way of natural character."

Looking forward, Corney is planning to take his unlikely hookup with Gold a step further, when he goes out on the road in support of the record. "We've got a handful of shows booked over the summer, but I think we were probably a bit late for the festival run, in terms of the release date. I've been working on a full live show with Gwilym and Alison Garner, who was the other vocalist on the album. We've figured out how to make it work in front of a crowd; now it's just a case of getting it out there."


Modern Worship is available now via True Panther