Four years on from the stunning debut record that spawned such rare gems as 'Nitrogen Pink', 'Bunny Club' and 'I Hate The Way', Polly Scattergood - yes, her real name (it means 'spendthrift waster') – is prepping her second full-length effort. 'Wanderlust' and 'Disco Damaged Kid' have been released already, hinting at her electronic-focused new direction, forgoing her folkier alt. sound of her first LP in favour of a horde of synthesisers and plenty of quirky pop moments. The Colchester-via-London Brit School alum was a storyteller first and foremost on her eponymous 2009 album, and that roaming troubadour feel remains: she's still weaving tales of modern life, including the pitfalls of love and everyday missteps, but now it's wrapped up in a glossy electro sheath, ready for dancefloors nationwide.

'Wanderlust' is the lead single (it's already been remixed by Charli XCX and How To Dress Well), with an enormous synth hook that bobs through rhythmic bass and Scattergood's waltzing, ethereal vocals. It's instantly burnt into your mind, the chart-poised chorus of "Wanderlust/ Wanderlust/ Following my feet as I keep dancing down this endless street," bouncing through your brain long after you've finished listening to the track. 'Disco Damaged Kid' bears similarities to Polly Scattergood with breathy, dulcet pipes from the woman herself, but as the pre-chorus lurches and looms, it becomes clear that although she's kept some elements of her beginnings, she's now entered a far bigger realm that comprises all-encompassing pads of twinkling joy and 90s trance percussion.

Glen Kerrigan, who's helped Emmy The Great write, was enlisted to aid Scattergood for Arrows, who, after encountering a form of writer's block when jumping straight into trying to follow her debut, eventually decided to trek to Berlin for writing sessions. The change of scenery worked, and with Kerrigan's assistance, she crafted some beautiful music. The electronic atmosphere of the German capital has undoubtedly been part of the reason for her tonal shift - after all, it's arguably where electronica began. What she's created isn't exactly Kraftwerk mark two, but there's definitely more of a synthetic presence brought on by her travels. She may not be overtly spouting Kraut-y noises, but she does imbue her sound with flecks of millennial dance music and Top 40 pop.

The standout cut on the record is closely contested. 'Cocoon' features one of the most sublime melodies of the year; it's whitewashed with chilled keys and shimmering synthpop noises - at first glance it appears to be a titanic chunk of soppy melancholia, but as the noises wear on, it becomes obvious that this is eternally hopeful in spite of crushing self-doubt: "From my cocoon of angel wings/ from my cocoon I'm gonna let you in." The other heavyweight on Arrows is 'Subsequently Lost'. Brimming with glimmering piano melodies and indie-house wobs, it channels the tense tangle of emotions of post-breakup depression: "You said I was the sunshine behind your destruction." Scattergood's innate talent for glorious melody and humane lyrics is all-too-present on this record, and you'd have to be Scrooge incarnate to not feel any pangs of pain while listening.

Those who doubted Scattergood's allure beyond her first long-player will hurriedly flock to rally behind her when Arrows drops. Her turn towards electro-pop is a natural one; not once does the intense synth presence detract or distract from her storytelling. It took four years to create, but this upcoming endeavour is well worth the wait, and could help turn Scattergood from an unsung hero into a household name.

Polly tells us a bit about the album...

I recorded this album with Ken and Jolyon Thomas, who had previously worked with M83 and Sigur Ros. They bring this incredible warmth to their recordings, which I love. The whole recording process was an adventure. We lived in this funny little hotel for a while, as we recorded lots of it in Ken and Jolyon's studio in the countryside. It was one of those places that when it gets dark, you can't see anything except for the silhouettes of the trees and the stars, it was wild. One night we had the studio door open and I recorded an owl in a nearby tree, it kept interrupting my vocal so I decided to turn the mic round, as soon as I did, it stopped, it's like it just knew.

This album is very transient, it's about a journey. Sonically I wanted it to be a warm and adventurous, delicate in places but also strong and positive. I didn't want the music to be tied down to any one direction, I wanted to keep the sense of freedom and movement running through the music. I was very into escaping at that time, and songs like 'Falling and 'Colours Colliding' are all about that. It's quite liberating stepping into the unknown and kind of seeing where it takes you. Sometimes it's scary where you go, the ending of silver lining always makes me feel a bit uneasy.

I wanted it to be one of those albums that every time you listen you hear something new each time. It is filled with little sparkles that sometimes only come in once for a fleeting moment and are never heard again, like that feeling you get when you have a good dream and you can't find it again. I buried things in the layers and textures that some people will find, and I guess others won't.

Making arrows was an adventure. It took me on this wonderful journey from London and Berlin, to France and the dark English countryside. I hope you enjoy listening.