His debut showed an artist enamoured with the same grimy house as compatriots—and now label mates—Delroy Edwards and Willie Burns. But where Apron tempered its grit with a semblance of percussive polish, PMA is wholly committed to redlining.
Beato's approach is starkest on "Hawo." It opens with a growl, like switched-on speakers being plugged into the mains, and only gets rougher. Kicks crackle as they're pushed deeper into distortion, synths shriek through bulging reverb, and the final third's slither of a melody is punctured with the briefest flicker of human contact—screams that sound like someone falling off the edge of a cliff.
Elsewhere things are no smoother. "PMA"'s train track hi-hats roll over fractured snares, and the bass sounds like it was recorded through a wall. That tactic is echoed on "Gimme A Light," where the highs and lows are removed, so it feels like it's being spun in a club you're in the queue for. Were that the case, you'd be forgiven for immediately trying to blag your way past the bouncer.