PVRIS had buckled, glossy boots to fill with the release of the more pop-heavy ‘Hallucinations’, which follows their acclaimed 2017 sophomore full-length, ‘All We Know Of Heaven, All We Need Of Hell’.
Despite its five-track EP status, this effort clearly lives up to the established quality of the trio’s already triumphant catalogue. Regardless of the format, PVRIS absolutely kill it, yet again.
The title-track swanks and pulses, reinforcing that PVRIS haven’t even thought of losing their confidently gothic touch. The chunky bass lines from Brian MacDonald inject its veins with vitalising hallucinogens, and the louder they’re pumped, the more dizzying the reverberations.
Lynn Gunn‘s broody lyricism is given free rein to pool in the spiked choruses and metallic verses alike in ‘Nightmare’. Oozing a shady yet chilling tone that’s punctuated by distorted screams and piercing vocals, it highlights that the Massachusetts native outfit have tastefully evolved while staying gloomily conscious of their alternative roots.
PVRIS established an aesthetically-divergent image for themselves with the release of their debut ‘White Noise’ back in 2014, and have since imprinted various monochromatic masterpieces into their work. It’s fair to be cautious in approaching this EP, their first straying from a full-length in a number of years, but with buoyant, crunchy tracks like ‘Death Of Me’, these alternative rockers never fail to deliver.
As Gunn presses the tips of her fingers onto stripped-back piano keys, estranged from the grooves of both Alex Babinski‘s guitar and her own, ‘Things Are Better’ lulls amidst the passionate likes of ‘Old Wounds’.
PVRIS aren’t composed entirely of black veils and silver mirrors. They’re evolutionary musicians that captivate their audience through both their lyrics of semantic intricacies and punky deliveries, deserving of every ounce of their charcoal success.
Writer for DEAD PRESS! / An often caffeinated freelance journalist, spending time writing words about other people’s words.