Like many of the dozens of albums Brock van Wey has released as bvdub, Violet Opposition contains a handful of lengthy, slowly evolving pieces that don't resemble songs so much as encapsulations of a turbulent time in one's life, layering numerous conflicting feelings on top of each other in a brewing emotional storm cloud. As on his 2021 releases, Measures of a Greater Mercy and the double album Hard Times, Hard Hearts, van Wey applies more bleary distortion to his soundscapes than on most of his past recordings, which were dense but rarely this blown out. This album doesn't embrace the trap-influenced beat patterns he's dabbled with from time to time, nor does it have the lethargic, half-speed techno thump he's employed in the past. There are some beats, but they seem to take the form of a slow drip that's nearly imperceptible, or they otherwise burst in at unexpected moments. It often brings to mind the hazy, rainswept melancholia of vaporwave-adjacent "dreampunk" artists like 2814, though this seems far more introspective and less evocative of a dystopian anime cityscape. Opening track "Divinity at Dusk" gradually loops distant, mournful vocals, later applying billowing synth notes coated with shoegaze-like distortion. Everything briefly drops out to focus on a stark synth melody, then glowing, close-miked guitars later emerge, providing an opportunity to focus on some thoughts before it all slips away. "Heracles Before the Fall" is sludgy and damaged, with a winded voice which gradually reveals itself to be moaning "I don't need you, oh no." Perhaps the album's definitive moment comes during "Northern Stars in Jade," when a stretched-out voice wails "Don't fade away, I've made mistakes" after being introduced by dramatic cascading strings. The plea continues looping, accompanied by additional background cries, and it all grows icier and more desperate. Right as it seems like the piece is getting ready to fade out, trudging drums caked in piercing distortion crash in, functioning as a startling "Wait, don't go!" moment before slowly marching away. This is one of van Wey's more jarring, uneasy records, but it's as immersive and expressive as anything else he's done and just as likely to provoke a strong emotional response.