Pvris show a great deal of vulnerability on their sophomore effort, but still stay faithful to their playful electronic roots.
The Massachusetts three-piece rode waves of success after their debut White Noise, critics often relaying Gunn’s vocals and the group’s abundance of playful tracks to genre torchbearer, Paramore, and yet on their second full-length, Pvris seem to be steering themselves away from being weighed down by such a comparison.
Almost bordering on contemporary post punk or new wave, Pvris are notably taking themselves far more seriously, still maintaining the energy from their past catalogue and channelling it towards much darker, more personal atmosphere. The record opens with heavy, melancholic piano, yet come chorus time, Lynn Gunn’s dreamy vocals help sell the trippy, almost psychedelic vibe of ‘Heaven’.
Gunn is a formidable singer, stoking her emotional fire as she showcases a wider range, sounding decidedly more tempered and perhaps cynical as a result, most notably evident during the chorus-heavy ‘No Mercy’ and even going so far as to eschew lyrical trend on ‘What’s Wrong’ stating, “I don’t need a metaphor for you to know I’m miserable”.
Disappointingly, while the trio’s song writing and composition have improved substantially, and with it, a clearer sense of musical identity, the darker tone can tend to smudge a few of the tracks together, leaving a little to be desired when it comes to each song having its own sense of personality.
All We Know… predictively seems like a divisive album. There’s a good chunk of their sophomore that objectively sounds better, but understandably maybe not necessarily quite as ‘fun’ of a listen. Really, your preference will most likely come down to whether you prefer Pvris when she’s falling in love or after she’s had her heart broken.
Dre’s Top Three:
- What’s Wrong
- No Mercy
You can pick up your copy of All We Know Of Heaven, All We Need Of Hell on CD or Vinyl here.