PVRIS Release New Song and Video, “Death of Me”

Photo Credit: Lindsey Byrnes

On Friday, electropop trio PVRIS released their first new song in nearly two years titled “Death of Me”. The sinister yet immediately catchy track is accompanied by a music video directed by Katharine White that perfectly encapsulates the song’s tone, complete with references to the occult and divination, according to lead vocalist Lynn Gunn. As dark as it all sounds, it’s the perfect track for hot summer nights.

In 2017, PVRIS followed up their breakout debut, White Noise, with All We Know of Heaven, All We Need of Hell. That release dropped some of the heavier elements of White Noise in favor of more brooding and melodic synthpop. Flanked by Alex Babinski and Brian MacDonald, Gunn took her vocal performances to another level, quickly becoming one of the most heralded vocalists in the scene.

Back in 2014, White Noise caught my attention (and honestly, just about everyone else’s) in a way that a new band hadn’t in a long time. For the past five years, many of predicted that PVRIS is on the verge of an even bigger breakthrough into the mainstream. Who knows what the rest of 2019 holds and what the forthcoming new album (presumably released later this year on Warner Records) will deliver, but for now, “Death of Me” proves once again that PVRIS is pressing forward in all the right ways and creating some of the best synth-driven pop around.

Check out the new video below:

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Review: PVRIS – All We Know of Heaven, All We Need of Hell

“Two years gone / Came back as some bones and so cynical”

The opening lines of “What’s Wrong”, an early single from PVRIS’ sophomore album All We Know of Heaven, All We Need of Hell, provide a quick and distressing synopsis. By all accounts, this album should mark a joyous occasion for the fast-rising electropop trio, but vocalist Lynn Gunn shies away from celebration, choosing to bare her broken heart instead.

That heavy honesty, coupled with the band’s refined execution, has resulted in something that somehow manages to surpass the immense hype that preceded it.

You can buy All We Know of Heaven, All We Need of Hell on iTunes.

PVRIS took the scene by storm in 2014 with the release of White Noise – an absurdly fantastic debut that set the bar high for such a young band. From the moment those songs went on the road and the trio’s fan base ballooned, it was clear that PVRIS were never ours to keep. This was music that deserved to be heard on the biggest of stages.

I don’t know if All We Know of Heaven, All We Need of Hell is the album that will take them there, but it succeeds in nearly every way as an improved version of PVRIS. Surprisingly, All We Know doesn’t stray completely from guitars, drums and rock influence, even as the songs themselves have appropriately evolved toward a more fully realized pop sound. It’s just good music, plain and simple.

That richly melodic background creates a haunting palate for Gunn to create contrast as she reflects on the pressure and confusion that comes with nearly immediate fame and exposure. During the second verse of “What’s Wrong”, she continues her descent, singing, “When did I get so pitiful? / Just a goddamn corpse in a centerfold / You got my back against the wall / Now I can’t ever get comfortable”. And later, she distressingly declares, “I don’t need a metaphor for you to know I’m miserable”.

Like many others in the revived genre, Gunn uses the jubilant glow of synthpop to explore dark themes, but the naïve ambiguity of White Noise fades away here. Instead, Gunn opts for a straightforward approach with some clever turns of phrase thrown in. On what could easily have become a late summer dance anthem, Gunn uses the billowing chorus of “Same Soul” to inject hollow regret into a famous Gotye line, belting, “I’m just a body that you used to know”.

Themes of shame, remorse and confusion permeate All We Know, spanning across a soundscape of synthesizers and drums that elevate tracks like “Heaven” and “Anyone Else”, building on the foundation laid during the band’s debut. Even so, aggressive elements remain – “No Mercy” is the heaviest song the band has written and closer “Nola 1” floats atop a slick guitar lick and deep, pulsing bass from Alex Babinski and Brian McDonald. It’s a delicate balancing act that never seems to tip the scales in one direction across the album’s 10 tracks.

On White Noise, Gunn was a firecracker, letting her vocals bubble over into a growl during the crescendo of nearly every track. On this sophomore release, she’s found her voice, usurping expected restraint with commanding vocals that make use of her range and power without spilling into yells or screams. During the chorus of “Winter”, Gunn harkens to old bangers like “Smoke” and “Fire” as she sings, “Can you burn a fire into my flesh / Cause your love’s so cold I see my breath” with a powerful and controlled delivery. It’s that kind of rapid progression and growth that makes the future of PVRIS increasingly exciting.

During the opening moments of “Half”, Gunn sings, “Some days I feel everything / Others are numbing / Can never find the in-between / It’s all or nothing”. Her personal battle speaks volumes about her character. Gunn is brave to share her struggle and wise to ponder the fleeting fulfillment of fame. As she does, PVRIS have come even closer to crossing the mainstream threshold. When their rise reaches its peak, which could very well be sooner than later, it would seem that they’ll be prepared.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Most Anticipated of 2017: #4 PVRIS Break Out

pvris-2016-promo

Fresh off the heels of 2014’s smash debut album White Noise, PVRIS wouldn’t have been faulted for following up quickly and capitalizing on the buzz. Instead, the band spent an immense amount of time on the road honing their live performance and building an even bigger audience. The wait for what’s next is almost over.

Last year, PVRIS released a new deluxe edition of White Noise, complete with new single “You and I” – a hint of what may be to come. On their debut, PVRIS toed the line between dance pop and post-hardcore ambience, but the trio may be wise to capitalize on their pop sensibilities. Lynn Gunn has become one of the most exciting figures in the scene, and during the past two years of touring, has become an even more potent vocalist.

PVRIS undoubtedly feels the pressure that rests firmly on their sophomore release. It’s been several years since a band from the scene has had a true chance at crossover dominance, and PVRIS feels more primed than any band since Paramore to make it happen. Whether they break through to the mainstream or not, we can be certain that their follow-up will be built on the idea that practice makes perfect.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Stream New PVRIS Song “Empty”

PVRIS

Last Friday marked the release of the deluxe edition of White Noise, the debut album from synthpop trio PVRIS. This new release features the band’s new single “You and I” along with another brand new track titled “Empty”. The song smolders beneath the surface as vocalist Lyndsey Gunnulfsen slowly builds to an explosive crescendo of “What do you want from me?” atop the track’s moody synthesizers and keys. Take a listen to the new track below:

If you like what you hear, you can purchase the deluxe edition of White Noise on iTunes. What are your thoughts on the new tracks? Share in the replies!

Posted by Kiel Hauck

PVRIS Release New Song, “You and I”

PVRIS

Electropop trio PVRIS have released a brand new song titled “You and I”, which shows off the band’s impressive pop sensibilities. “You and I” will serve as a bonus track on the upcoming deluxe edition of the band’s debut, White Noise. The re-issue is set to be released on April 22 via Rise Records. You can check out a video of the new song below:

Like what you hear? You can pre-order the deluxe edition of White Noise on iTunes. What are your thoughts on the new song? Share in the replies!

Posted by Kiel Hauck

PVRIS Release New Music Video for “White Noise”

PVRIS

Rise Records band PVRIS have released a new music video for the title track of their debut album, White Noise. The very ghostly video was directed by Raul Gonzo and captures the mysterious feel of the track. You can check out the music video below:

If you haven’t bought White Noise yet, what are you waiting for? You can purchase the album on iTunes.

Posted by Kiel Hauck

Review: PVRIS – White Noise

PVRIS

Something that got lost in the shuffle during the flood of “Rise-core” over the past few years is that Rise Records is much more than a one-trick pony. Sure, the face of the label is recognizable as the nu-wave metalcore powerhouse, but it’s hard to overlook solid releases from emo comebackers The Early November and Further Seems Forever or respectable punk bands like Man Overboard and Hot Water Music.

Now, the label appears to have another card up its sleeve in the form of synthpop act PVRIS (pronounced Paris). The trio recently released their debut album White Noise in conjunction with Rise imprint Velocity Records, and it’s a doozy.

PVRIS had been on the tip of many a tongue, assuming you knew how to pronounce their name, since early this summer when a scattering of songs hit the web. Full of pulsing bass and synthesizers, tracks like “St. Patrick” and “My House” seemed to warn of an oncoming onslaught of crushing EDM pop. White Noise is undoubtedly poppy, but it’s even better, and more absorbing, than expected.

The album kicks off with the dark scorch of “Smoke”, a track that lays the groundwork for what’s to come on White Noise. Is it rock? Pop? Electronic? Exactly. The song slowly builds on a glossy, moody soundscape before vocalist Lyndsey Gunnelfsen takes the reigns, dropping the razor sharp lines, “I feel a fire in the back of my throat / So let’s get covered in flames and play some games with the smoke”.

The band’s sound is just familiar enough to pull you in, but there’s a freshness here, too. It’s all pushed over the top by Gunnelfsen’s vocal work, which transitions from an angry pierce to quiet vulnerability to silky smooth, sometimes multiple times within a given song.

“St. Patrick” and “My House” follow the opener, the former being a peppy, synth-heavy dance song while the latter is powerhouse pop. Surprise ensues after the second chorus on “My House” during a crushing breakdown that features Gunnelfsen’s angry cry of “Haven’t you heard – I’m not yours anymore”. Conventions be damned as the song’s carefree bounce materializes as genuine frustration and determination.

“Fire” and “Let Them In” follow suit, bounding forward with explosive choruses and an undeniable beat, but here you find yourself dancing away the hurt instead of reveling in celebration. It’s not that there aren’t times of joy on White Noise, but those fleeting moments come in the aftermath of pain, which truthfully makes them that much sweeter.

On the flip side are tracks like the delicate, electronic “Eyelids” and the weightless, guitar-driven “Ghosts”. “Eyelids” serves as a shadowy lullaby, with Gunnelfsen playing with a beautiful upper register during the song’s wispy chorus. “Ghosts” the closest the band comes to pop rock, wisely requires the listener wait until after the second chorus before releasing the song’s contagious chorus.

The rest of White Noise lives between these two worlds, combining a mild pop sound with sinister electronics to create something uniquely their own. PVRIS seems to fall outside of the bounds of scene restrictions while consistently stiff-arming a tendency towards anything remotely radio-friendly. This is both refreshing and alarming, given that the band could easily cross over into the world of popular music if they so decided, which likely isn’t out of the question.

White Noise is anything but. The missteps are few and can be easily chalked up to a young band experimenting with sound as they realize their identity. The album moves easily through 10 tracks with little filler and engaging transitions. Rise Records would do well to push PVRIS in front of as many listeners as possible, maybe even converting a few of the metalcore faithful.

If White Noise serves as a taste of what’s to come in this scene, the future is an exciting one, indeed.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.