The strength of Nite Jewel's music has always been in Ramona Gonzalez's voice. Her whispered, R&B-style performance lends an effortless cool when juxtaposed with the sharper sound of percussion and the deep pulse of bass synths. Take for instance Liquid Cool's opening track 'Nothing but Scenery': Gonzalez's voice glides over the moody rhythm section, combining with the brighter synthesiser chimes almost as though she's becoming part of the "scenery".

Compared to One Second of Love, Gonzalez's vocals are less clear, with overdubbing and instrumentals jostling for attention. In some respects it means the album skews closer to the lonely downtempo R&B sound of 'No I Don't', than 'This Story' or 'One Second of Love'. That's not to say Liquid Cool is all moody electronica - as anyone who has heard the jubilant 'Kiss The Screen' can attest - but there's definitely a darker current to Gonzalez's music this time around.

Part of that might be due to the fact the artist took stock after the release of her last album to evaluate what she wanted out of her music. She left her old label behind and turned a walk-in closet into a makeshift studio. By returning to the independence she once had as an aspiring artist she regained control of her work. In doing so she isolated herself; writing, producing and performing alone, and this comes across in the sound and the thematic ideas at the core of the record.

Liquid Cool feels personal, something that is reinforced by the instrumentals which, whilst occasionally pushing at bold electro-pop moments, lack the expansiveness of One Second of Love. That's not a criticism of the record, it instead creates a rather interesting juxtaposition. Liquid Cool has a raw honesty to it that comes from stripping back the instrumentals.

Despite the stripped back sound, there's a lot of variety on offer. The bright synthesiser chords and backing vocals of 'Kiss the Screen' recall 80s high-school movie soundtracks, whilst 'Over the Weekend' imagines a more contemporary electronic sound, with a muted drum pad beat and whirring synthesiser chimes. The production throughout the album, meanwhile, ensures the whole thing holds together with a nostalgic, lo-fi tone to the album that adds textural depth.

The album's second half is its strongest, with the two final tracks offering an atmospheric counterpoint to the dance-floor pop of 'Boo Hoo' and 'I Mean It'. 'I Mean It' is probably the closest in sound to Nite Jewel's previous record, with a verse instrumental constructed from piano, synth lines, and booming percussion. It's a richly detailed track in comparison to everything else that precedes and follows it. 'Running Out of Tim' meanwhile, with its slow bass and shimmering synthesiser tones brings an evocative cinematic scope to the album, with droning swells matched perfectly to Gonzalez's vocals. It's the longest track on the album, but easily the most rewarding in terms of emotional resonance.