Paz followed to join them and scrape rent from the city's bars and cafes. By early 2017 the three of them were holed up in practice rooms, Luke adding Evens-esque basslines that laid concrete to their minimalist guitar-lead pop songs. Originally as WVS, they started playing shows with bands that had once orbited the tiny Power Lunches venue in Hackney and, since its death, were now to be found on bills at DIY Space, New River Studios and other dusty successors of its autonomous, cheap drink, creative-friendly spirit. In common with bands like Shopping, rudimentary surroundings and resources fed into nonetheless ambitious, hooky work. Songs such as “Teen For Him,” a self-effacing lark importing strains of Leslie Gore and the Velvets; the minimal, Guided by Voices-reminiscent chug of “Bariloche” and “Cupids Bow,” an up tempo, Breeders-esque standout, were lynch pins of a pummeling, inspired set. In April of that year, they recorded with Euan Hinshelwood of Young Husband at the studio TVT, in an overlooked corner the other side of Blackheath, tucked under giant knots of flyover on the way to Charlton in South East London.
The intention was casual but the results, seven dazzlingly assured songs nailed in a couple of days, sucked attention from several quarters as they skipped between hard drives. They secured a tour with Frankie Cosmos and signed to London label Tough Love, who released the single “Back In The Day” in May 2018. Upon deciding to flesh the songs out for a full length, they returned to TVT studios with Euan in April this year, tweaking the mix and laying down two new songs: “Mind,” a down tempo lullaby/lament in which the band track into the territory of early St. Vincent, Grouper or Julianna Barwick, supported by a raw dirge that blossoms in feedback, and “The Deluge,” which is also reflective but structured by a roaming curiosity and big chorus seeking road movie oblivion.