Although PVA first minimize their enamel on the south London scene, the trio are barely at odds with the world’s well-ingrained status for ferocious, scrappy guitar music. Although the band initially labored inside these parameters to land early dwell slots – as vocalist Ella Harris put it in an early interview with Loud and Quiet – the band’s actual calling quickly started to creep into the image. Occupying an area someplace between a sticky-floored venue and a darkish, strobe-filled membership, their music takes maintain of the punchy, fast-paced constructions of rock earlier than capturing the whole thing by means of an acid-dance kaleidoscope.
By the point 2020’s debut EP ‘Toner’ got here round, the transformation was full – the discharge burst with disco strut and Harris and Josh Baxter’s monotonal, chanted vocals. In addition to maybe the obvious comparability, LCD Soundsystem, it recalled the avant-garde model of queercore artist SSION, experimental dance producer Planningtorock, and the warmly melodic dance-pop of The Knife.
Debut album ‘Blush’, in the meantime, appears to be partially knowledgeable by the static mundanity of life in lockdown. “I caught as much as the little operating males, all neon / Of their streamlined operating leggings,” Harris deadpans on opener ‘Untethered’, blinking within the vivid mild of a once-daily lockdown outing (bear in mind these heady days?). “I requested, ‘What’s the that means of all this? When will it finish?’” On ‘Bunker’, in the meantime, Baxter sings of stockpiling up anxieties; of “faces staring” and sleepless nights. Although it may properly be named in honour of low-ceilinged Deptford membership The Bunker – an everyday spot for the band – there’s additionally a way of letting free after holing away in a protecting, and barely claustrophobic, bubble to determine issues out.
Regardless of its vivid, euphoric veneer, a lot of ‘Blush’ is full of the feeling of feeling barely trapped and attempting to interrupt free – it teeters on a knife edge between celebration and summoning up the bravery to have a good time your self within the first place. That is no extra clear than on ‘Transit’; an uneasy cacophony of wailing train-horn vocals and its repetitive manta:“the area between, the area between, the area between…” On ‘Hero Man’ and ‘Dangerous Dad’ in the meantime, Harris interrogates how this concern of taking a leap intersects with the straightforward confidence of masculinity. “So what?” she shrugs, “You’re some form of ‘hero man’.” It’s like Shania Twain’s ‘That Don’t Impress Me A lot’ however given an electro-clash makeover.
Although ‘Blush’ sticks with an identical palette of influences, PVA have extra room to spin out their concepts throughout an extended launch – concepts have more room to percolate, and the pacing of the document feels akin to a DJ set with its steadily constructing peaks of vitality. The place ‘Toner’ hinted at nice concepts, its successor seizes them absolutely.
- Launch date: October 14
- Report label: Ninja Tune