PVRIS packages some solid angsty vibes in their heavily-produced sophomore album.
All We Know of Heaven, All We Need of Hell, a hardcore name on its own, begins with the aptly named “Heaven.” Showcasing Lynn Gunn’s bonkers vocals in a track that sits comfortably in the post-break-up realm between anger and despair, it’s a perfect starting point for an album that—while probably not blowing anyone away—surprises with its sheer consistency.
PVRIS’ sophomore effort fills a void for edgy alt-rock that veers closer to the rock side of the spectrum. They remind of the early efforts of The Naked And Famous, though I would say PVRIS bests T/N/A/F by not getting caught up in the heavy production that rock seems to cherish these days.
The songs on All We Know of Heaven, All We Need of Hell, still manage to come together into a cohesive unit.
No one element supersedes another despite how great it may be. Gunn’s guttural vocals sit comfortably atop distorted guitars while syncopated drums pulse the album forward. There’s maybe a bit too much distortion at times, and I’d appreciate a little more ambition in range like we see in the last track, like what we see in the final track, “Nola 1,” my personal favorite.
In “Nola 1” the guitar riffs with a surprising clarity above Gunn’s distant and muffled voice, the song as a whole brings a brighter quality to the final moments of what is overall is confidently gloomy album. A whining synth brings in the chorus, and in a few instances PVRIS layers vocal harmonies in fantastically fleshed out fashion.
Another stand out, “What’s Wrong,” almost too directly emulates early T/N/A/F in it’s use of vocals as texture. But the clear pop-punk identity PVRIS seems inspired by keeps the song from becoming too derivative.
The middle portion of All We Know of Heaven, All We Need of Hell, may blur together too much for my liking, but part of the reason it meshes into a whole is because there are really no missteps here.
With their second album, PVRIS hasn’t so much as tried to push the limits of their identity, but dig deeper into and perfect their hand. As this album indicates, they’re more than assured at what they do.