Upon listening to this sophomore album, it’s hard to believe that this Massachusetts trio began as a post-hardcore outfit not too many years ago. After a couple of name changes (their current name is pronounced Paris) and subtle shifts in sound, PVRIS have come into their own in the form of electronic and alt-rock, and here they edge closer to arena rock.
The album starts out with piano and strong vocals from Lynn Gunn, before moving into an explosive pop-rock anthem of giant choruses and breathy backgrounds. “Half” follows and is a more mysterious tune that sits somewhere between stadium rock and dance rock, and moves swiftly into the beat and radio friendly “Anyone Else,” where comparisons to Paramore feel inevitable.
Near the middle, PVRIS touch on ’80s with the mild New Wave feeling of “What’s Wrong,” the light and airy “Walk Alone,, where strings come into the equation, and the busy, vibrant “Same Soul,” which offers a forceful display of Gunn’s vocals and ebbs of quiet, spacey sounds.
The back end of the album seems primed for a wider audience with the crisp pop-rock of “Winter,” the more abrasive and throbbing “No Mercy,” and the impassioned, key-friendly “Separate,” which is one of the most versatile and interesting tracks present. The album ends with “Nola 1,” which punctuates all the pop moments on the album well, in a more intimate arrangement that’s no less powerful.
Apparently there’s been some turmoil in the band since their debut album, and like any worthwhile artist that strife has been parlayed into exceptional art, both musically and lyrically. While some longtime fans may find this installment a little too slick, i.e. extremely produced and highly accessible, it’s becoming quite clear that the talent that exists here is too colossal to remain a secret.
