HVOB choose to refer to themselves by their initials and so I am presented with the vexatious challenge of explaining their full name without appearing tedious or patronizing. To avoid any ham-fisted attempts at subtly on my part, and in the spirit of getting straight to the point, here it is: HVOB stands for 'Her Voice Over Boys'.

From their descriptor alone, you could be forgiven for thinking that HVOB are a spearhead feminist collective; in fact they’re Anna Müller and Paul Wallner, a duo from Vienna. In an interview on a German blog, Müller explains that the project's title does indeed pertain to the empowerment of women and 'Her Voice Over Boys' is intended to highlight an uncomfortable lack of female producers in the industry. HVOB formed just over a year ago and for a relatively new outfit they seem to understand what they're aiming for − ideologically and musically.

Their self-titled debut album is preoccupied with varying shades of electronic sound. Verse and chorus capitulate to fluidity. It's lyrically light. If I was to present a wordiest track award, it would go to their lithe, minimalist re-invention of Bombay Bicycle's Club's 'Always Like This' which is unrecognizable from the original. The whispered vocal is quite beautiful but ancillary to layers of silky beats. If you like your music imbued with a dexterous, Dawson's Creek-worthy verbosity then you'll probably be disappointed.

HVOB could span a variety of sub-genres from trip-hop to electro-pop. There's over-arching clarity and a distinctive direction throughout in the form of soft, verbal refrains amongst sinuous, Balearic house baselines. 'Dogs' (which was previously released as a single) initially lulls by making use of solitary piano chords before urging forward with the slow drip of beguiling synth. 'Heavy Seas' replicates the hypnosis of undulating waves and persisting with the aquatic theme, final track 'Ocean Bed' is the darkest and densest; it sounds like The Chromatics (although without their dynamic intensity).

Overall, the album falls teasingly short of 'very good' as potential moments of deep, sonic bravery are curbed in favor of establishing a sometimes-saccharine sense of ambience. Designer Elie Saab used this as the soundtrack to his collection video and that perhaps elucidates my point − HVOB too willingly assigns itself to the background.