PVA No More Like This
PVA's No More Like This arrives as a taut, sweaty manifesto of body, club and identity, and across five professional reviews critics largely agree it delivers vivid moments even when its ambitions occasionally outstretch their through-line. The record earned a 71.4/100 consensus score across 5 professional reviews, a s
Enough is the best song because it is named the defining track and exemplifies the album's trip-hop and nightclub-inflected immediacy.
The record earned a 71.4/100 consensus score across 5 professional reviews, a signal that reviewers found much to praise - notably the immediacy of “Boyface”, the claustrophobic gl
Best for listeners looking for genre-defiance and body and identity, starting with Boyface and Enough.
Explore the full Chorus artist page, discography, and related genre paths.
See where this record sits inside the full critic-ranked discography.
Jump from this record into the broader critic-consensus lists for 2026.
Full consensus notes
PVA's No More Like This arrives as a taut, sweaty manifesto of body, club and identity, and across five professional reviews critics largely agree it delivers vivid moments even when its ambitions occasionally outstretch their through-line. The record earned a 71.4/100 consensus score across 5 professional reviews, a signal that reviewers found much to praise - notably the immediacy of “Boyface”, the claustrophobic glamour of “Enough”, and the uncanny opener “Rain” - while also noting moments of uneven cohesion.
Critics consistently highlight the album's physicality and genre-defying palette: trip-hop and 90s nods, post-punk electronic crossover, and club-ready electronics threaded with hypnotic repetition and intimate lyricism. Reviews from Beats Per Minute, The Quietus and Clash point to “Boyface” and “Enough” as standout tracks, while DIY and Far Out single out “Send” and the seven-minute “Okay” for their daring textures and pulse. Across these professional reviews, themes of queerness and gender play, night-time intimacy, self-sampling, and a post-pandemic psyche recur, giving the best songs on No More Like This a lived-in urgency that critics praised.
Nuance matters: some reviewers commend the band’s growing confidence and minimalism as strengths, whereas others find the album’s stylistic breadth leaves its narrative thread diffuse. Taken together, the critic consensus suggests No More Like This is worth hearing for its standout tracks and moments of sensual, dancefloor-focused innovation, and serves as a provocative next step in PVA's development.
Critics' Top Tracks
The standout songs that made critics take notice
Boyface
5 mentions
"One such evidence of this is the expansive trip-hop influence on tracks like ‘Boyface’ and ‘Enough"— Far Out Magazine
Enough
5 mentions
"One such evidence of this is the expansive trip-hop influence on tracks like ‘Boyface’ and ‘Enough’, the latter of which garners speed with a repeated phrase"— Far Out Magazine
Rain
4 mentions
"Opener “Rain” features nothing but some spoken word from Ella Harris atop some futuristic sounding synth"— Beats Per Minute
One such evidence of this is the expansive trip-hop influence on tracks like ‘Boyface’ and ‘Enough’, the latter of which garners speed with a repeated phrase
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
Rain
Enough
Mate
Send
Anger Song
Peel
Boyface
Flood
Okay
Moon
Get the next albums worth your time.
Critic-backed picks in one clean digest. No clutter.
What Critics Are Saying
Deep insights from 5 critics who reviewed this album
Fa
Critic's Take
In a voice that refuses easy categorisation, PVA make No More Like This feel like a manifesto for the body and the dancefloor. The reviewer's relish for tracks such as “Enough” and “Okay” is clear: “Enough” is named the defining track and “Okay” is called a seven-minute epic that flirts between flirtatious and threatening. The writing leans into the album's genre-bending bravado, praising how these best tracks push post-R&B, Berghain-beat and trip-hop textures into something lived-in and urgent. Overall, the reviewer positions the best songs on No More Like This as the centrepieces that prove PVA's restless ambition and mature craft.
Key Points
-
Enough is the best song because it is named the defining track and exemplifies the album's trip-hop and nightclub-inflected immediacy.
-
The album's core strengths are its genre-defying ambition, bodily immediacy, and balance of experimental electronic and traditional band textures.
Themes
Critic's Take
PVA channel a sweaty, intimate energy across No More Like This, and the best songs, notably “Boyface” and “Enough”, are where that confidence sings loudest. The reviewer leans into sensory detail, praising “Boyface” as a playful, striking answer to 90s triphop while calling “Enough” sultry and the record's opener “Rain” a gently strange welcome. There is clear admiration for the band’s growing assurance and genre-blending - tracks like “Okay” and “Anger Song” show how far their sound stretches without losing fun. Overall, the best tracks on No More Like This are praised for vivid storytelling, bold influences, and palpable physicality on the record.
Key Points
-
“Boyface” is the best song for its playful, striking take on gender and clear triphop lineage.
-
The album's core strengths are intimate, physical energy, confident genre-blending, and vivid lyrical storytelling.
Themes
Critic's Take
On PVA's No More Like This Jamie Wilde singles out the intimate highs, especially “Rain” and “Mate”, as proof that the band have matured without losing edge. Wilde writes in a measured, admiring tone - noting how Ella Harris's patient delivery on “Rain” and the vulnerable lyricism of “Mate” make them the best tracks on No More Like This. The review foregrounds minimalism and physicality as the record's strengths, praising songs that can shut out the world and speak directly to the listener. Overall the critic frames these standout tracks as the clearest evidence that PVA have taken a significant step up.
Key Points
-
The best song, "Mate", is best for its vulnerable, transformative vocal moment and quoted lyric that captures the album's intimacy.
-
The album's core strengths are intimacy, minimalism and physicality, with focused production that lets Ella Harris's voice and visceral imagery dominate.
Themes
Critic's Take
PVA's No More Like This is an ambitious, sonically rich second album that finds its best songs when the band switches the mood rather than repeats it. Tracks like “Send” and “Boyface” emerge as the best songs on No More Like This, with “Send” delightfully clashing spoken-word pulse and distorted bass, and “Boyface” serving as a gloriously nostalgic earworm. Elsewhere “Okay” stands out for its expansive ebbs and flows, making it one of the best tracks on the record for its doomy synths and shoegazey wash. The record is often intimate and hypnotic, but that very breadth makes its through-line less clear, which is part of why these highlighted tracks register as the clearest successes.
Key Points
-
‘Send’ is best for its daring spoken-word pulse and distorted bass that mark it as a standout.
-
The album's core strengths are intimate, hypnotic production and a willingness to blend post-punk electronics with nostalgic rhythms.
Themes
Critic's Take
Here PVA make an album for sweat and thought, and No More Like This pulses strongest on “Rain” and “Enough”. The record’s sensuality and self-sampling tie these best tracks together, making them the standout moments when asking about the best songs on No More Like This.
Key Points
-
“Rain” is the best song for its uncanny opener, isolated vocals and choral return that anchor the album.
-
The album’s core strengths are its dancefloor sensuality, inventive self-sampling, and fluid exploration of gendered themes.