I seem to have struck a rich seam of post punk lately, and I keep uncovering genuinely exciting artists along the way. One of the most impressive discoveries has been PVA, whose sound feels both rooted in the genre’s stark foundations and willing to push beyond them. There’s a confidence and vitality to their music that makes each track feel purposeful rather than derivative, and it’s that sense of forward momentum that keeps drawing me back.

The album opens with "Rain", featuring the familiar blunt, spoken vocals, this time set above a wonderfully textured electronic soundbed that I could happily listen to on its own. There are also sung elements woven throughout, adding an extra dimension beyond some of the post punk artists I’ve been listening to lately, resulting in a much fuller and more rounded sound, which for me at times borders on sounding akin to Tangerine Dream.

The next track is "Enough" and it too has a fairly short title. In fact all of the track titles are relatively small, with the longest being just 9 characters, space not withstanding. The track itself has an interesting vocal segment, sounding almost like an North American Indian chant. What starts as a relatively light track, soon decends into something a little more frenetic, darker. And again it doesn't rely on the spoken word, instead all of the various elements pull a similar weight.

Musically, "Enough" opens with a striking vocal passage that carries a chant like quality, rhythmic and hypnotic. What begins as a comparatively light and spacious arrangement gradually tightens and intensifies, slipping into something more frenetic and shadowed. The shift feels organic rather than abrupt, as layers build and interlock. Unlike some of the earlier tracks, it doesn’t lean on spoken word delivery. Instead, the vocals, percussion, and electronic textures share the load evenly, creating a balanced and immersive whole.

"Mate" opens with immediacy, its percussion resembling glass bottles being struck. It’s that subtle experimentation with texture that keeps the listener engaged. The vocals are delivered with a clear sense of want and hunger, even if the lyrics themselves feel somewhat plain. That said, the simplicity seems deliberate, focusing on a central statement and driving it home in a way that feels true to the post punk style.

The experimental edge continues with "Send", which opens with something close to electronic white noise, though far less abrasive. A throbbing bassline soon emerges from the keyboards, providing a steady foundation as the lyrics are delivered in an almost staccato style. Various electronic textures drift in and out, adding detail without distracting from the central pulse, as the track remains firmly driven by that insistent bassline.

"Anger Song" opens on a more melodic note. While the lyrics clearly allude to anger, the vocal delivery often feels surprisingly sensual, with the sung passages taking on an almost angelic quality. It’s an unusual combination, but one that ultimately works to the track’s advantage.

The next track, "Peel", is another bass driven piece. The lyrics are open to interpretation, but the vocal delivery remains the focal point, dark and hungry, with flashes of urgency. Various electronic flourishes lift the track at key moments, preventing it from feeling too one dimensional.

When "Boyface" opens, there’s the faintest hint of melody buried deep in the mix, almost imperceptible. It briefly calls to mind Massive Attack, though the resemblance is fleeting. For much of the track, the vocal delivery carries a slightly Northern European inflection, while more melodic passages surface at times to add depth and contrast.

Once again, the band shifts direction with “Flood”, which opens with fully melodic vocals. An unmistakably 80s styled keyboard bassline follows, punctuated by the occasional flicker of flourish. There’s something about this track that truly resonated with me. It may well be the vocals, which seem to shine out of the darkness, fragile yet strikingly beautiful.

The reverb on the vocals in "Okay" briefly brought Laurie Anderson’s Oh Superman to mind. Yet the opening spoken delivery carries a sharper edge, heightened by the subtle sexual tension hinted at in the lyrics. One particularly striking passage reads: "I'm a siren. Get caught in my tideline. The wave. Okay. I'm the moment. Get stuck in me often. Funny day. Okay". I’m a sucker for sirens, so this line resonated with me deeply. Around the halfway mark, the track shifts into something more electronic and melodic, almost new-age jazz, yet firmly rooted in its electronic foundations.

The final track, "Moon", opens with a brief musical snippet that sounds almost as if it’s being played backwards, and for some reason it reminded me of Beethoven’s 9th. Though fleeting, it’s an intriguing segment, over in just a few seconds. The track is largely driven by staccato-style vocals, but these are balanced at intervals by more melodic passages, giving the song its own ebb and flow. As with other tracks, there are subtle sexual overtones in the lyrics, suggested rather than explicit.

I have to admit, I tried reviewing this album a couple of times but wasn’t in the right mindset to give it the attention it deserved. When I finally was, I found it to be a very interesting and, at times, engaging listen. There are certainly a few tracks that feel a little hit or miss, though as someone who isn’t an outright post-punk fan, that’s probably no surprise. Overall, it’s an intriguing release that has deepened my appreciation for the genre.