When Warp records founder Steve Beckett signed an unknown band from Sydney in early 2008, based on the strength of their album ‘O Soundtrack My Heart’ - a seething instrumental mass of post-punk guitars, brutal drums and bass-heavy electronics - you could forgive him for being a little taken aback when only 18 months later they returned to his office with the follow up – ‘Church With No Magic’, a new vocal-lead direction for the band, and arguably one of the most ambitious experimental rock records to ever come out their native Australia. From the start, there was an urgency to secure the sound that would become their latest album. Just one a month after they handed over the master of ‘O Soundtrack My Heart’ to the label boss, the three members of PVT were in the studio in Sydney with engineer Burke Reid. ‘Church With No Magic’ was different. For a start, they found themselves in the same countries at the same times. It also took them from Sydney to a basement studio in London with one of Europe’s largest collections of vintage synthesizers - including the Yamaha CS80 famously used for the ‘Blade Runner’ soundtrack - to a grandmother’s music room in a 120-year-old house in the countryside near Paris, juggling live commitments along the way. Their efforts resulted in an album that builds upon the anthemic synth-driven instrumental movements for which PVT is renowned, along with the power of their visceral live shows. The sound has been brilliantly tempered and expanded by the trio into brooding, melancholic experimental pop - an amalgam of rock synthesis, propulsive rhythms and huge melodic strength. It’s a dark and expansive sound that PVT has made substantial movements on this record to make their own. ‘Church With No Magic’ represents a band not afraid to risk its hand for sake of something new. It’s this inventiveness and fearlessness that first attracted Warp Records to make PVT their first Australian signing. See ClashMusic.com entry for 'Pivot'
Richard Pike , Laurence Pike , Dave Miller