{"id":13010,"date":"2020-08-28T09:43:24","date_gmt":"2020-08-28T13:43:24","guid":{"rendered":"https:\/\/www.altwire.net\/?p=13010"},"modified":"2021-11-29T14:35:03","modified_gmt":"2021-11-29T19:35:03","slug":"album-review-pvris-use-me","status":"publish","type":"post","link":"https:\/\/altwire.net\/de\/album-review-pvris-use-me\/","title":{"rendered":"Albumrezension: PVRIS \u2013 Use Me"},"content":{"rendered":"

You know that prickling feeling that creeps down the back of your spine after a particularly miserable day? Perhaps you\u2019ve come to realize something that unsettled you, or disturbed your usual train of thought. Perhaps you looked in the mirror that day and saw only cold indifference staring at you \u2013 or maybe it was dein<\/em> own indifference looking back at it<\/em>? Whatever it was, there comes a point that it drains you to barely being able to meet your own reflection, becoming an exhausted exasperation at simply regarding oneself. And the feeling that creeps down the back of your spine keeps creeping. Keeps eating away. Keeps doubting. Keeps you wondering.\u00a0That<\/em> is how PVRIS<\/strong><\/a>\u2019 extraordinarily poignant 2017 offering All We Know of Heaven, All We Need of Hell<\/em> felt. It struck with the same vivid impact that a peek into a terrible nightmare could carry, all realized spectacularly throughout an album that was doing everything it could possibly do to make you feel something. After all, there\u2019s a reason that lead vocalist Lynn Gunn<\/strong> croons \u201ctake the mirror from the wall, so I can\u2019t see myself at all – don\u2019t wanna see another damn inch of my skull.\u201d<\/em><\/p>\n

Be it originating from a deepest, darkest corner, or simply utilizing a brilliant ability in projecting those corners, an element to PVRIS<\/strong>\u2019 sound that has always been apparent is the band\u2019s excellent use of what lies under the skin. Sure, the more electronic rock orientated White Noise<\/em> may have packed more punch in the guitars department, and regardless of the preferred genre there is little denying how impeccably infectious Das Material<\/a> could be \u2013 in all the right (and wrong) ways possible. \u2018My House\u2019 and \u2018St Patrick\u2019 boasted plenty as fist-pumping anthems to fantastic effect, but it was hearing Gunn\u2019s furious exclamation of \u201cyou give me something to think about (that\u2019s not the shit in my head)\u201d that really sticks around.<\/em><\/p>\n

That, perhaps, is why the Hallucinations<\/em> EP was somewhat surprising.<\/p>\n

Acknowledged as a departure from previous albums, the EP certainly seemed more upbeat in terms of composition. There\u2019s a snappy, pop vibrancy throughout the EP that downplays the more brooding direction of All We Know of Heaven, All We Need of Hell.<\/em> The brighter instrumentation and more prominent use of synthesizer leads sour through the mix, and were certainly something new for the band all things considered. But, what made it even more (pleasantly) surprising was just how PVRIS<\/strong> <\/em>it all still felt. Contributing to both Hallucinations<\/em> Und Use Me<\/em>, \u2018Hallucinations\u2019 and \u2018Death of Me\u2019 both feel appropriate as stylistic middle points between the preceding album and what would come to follow \u2013 different, yet undoubtedly still familiar.<\/p>\n

So, honestly, it\u2019s no surprise that Use Me<\/em> ends up being as exquisite as it is.<\/p>\n

Picking up immediately where Hallucinations<\/em> left off, a glance at the track listing of Use Me<\/em> reveals the band\u2019s decision to incorporate three songs from the EP: the aforementioned \u2018Hallucinations\u2019, \u2018Death of Me\u2019 and \u2018Old Wounds\u2019. Truthfully, it\u2019s easy to immediately question the absence of \u2018Nightmare\u2019 and \u2018Things Are Better\u2019, but after actually listening through the album in its entirety the decision feels the right one. Indeed, as soon as the dissonant bass warbles of \u2018Gimme A Minute\u2019 enter the picture, Use Me<\/em> immediately feels promised to be every bit as captivating a PVRIS<\/strong> album as should be expected \u2013 that is, with a new coat of paint here and there to freshen things up. After all, why go back when you can move forward?<\/p>\n

\u2018Gimme A Minute\u2019, utilizing an extremely bass-heavy chorus instrumentation that might be more expected from a house\/EDM act, explodes in the final stretch with an exhilarating synthesizer\/guitar bridge, and once again proves just how exceptionally nimble PVRIS<\/strong> can be in producing infectious melodies. Speaking of which, \u2018Dead Weight\u2019 keeps things going with exactly that in mind. Keeping in line with the indicated direction of Hallucinations<\/em>, \u2018Dead Weight\u2019 establishes itself as another track that blends electronics and synthesizer stabs with hints of guitar arpeggios and acoustic elements brilliantly, whilst Gunn\u2019s chorus is sure to prove another staple of live shows: \u201cI can\u2019t take it, over and over, dead weight hanging off of my shoulder \u2013 nothing changes, I\u2019m getting colder.\u201d<\/em> Things might have changed instrumentally, but it\u2019s still PVRIS<\/strong> in all the right ways.<\/p>\n

That being said, perhaps this is where \u2018Stay Gold\u2019 reminds the most of something familiar: fitting right in alongside \u2018Winter\u2019 or \u2018Nola 1\u2019, \u2018Stay Gold\u2019s luxurious synthesizers and chirping minimalist guitarwork recalls the more electronically-infused side to All We Know of Heaven, All We Need of Hell<\/em>, whereas \u2018Good To Be Alive\u2019 is something else entirely. Immediately more instrumentally akin to a modern hip-hop\/R&B track, \u2018Good To Be Alive\u2019 stands out as one of the furthest departures from PVRIS<\/strong>\u2019 former material. Deceptively promising one of the most positive lyrical messages of the band\u2019s entire discography, Gunn instead chants a lamented \u201c(it) feels good to be alive, but I hate my life.\u201d<\/em><\/p>\n

Taking stage during the second act of the album, Hallucinations \u2018Death of Me, \u2018Hallucinations\u2019 and \u2018Old Wounds\u2019 all feel right at home within Use Me<\/em>, with \u2018Old Wounds\u2019 in particular offering some further recollection of All We Know of Heaven, All We Need of Hell<\/em> through the track\u2019s exquisite use of the harp that was well received on \u2018Walk Alone\u2019 and \u2018Anyone Else.\u2019 And so, entering the third act of Use Me<\/em> steps forth \u2018Loveless.\u2019 And, quite frankly, it\u2019s a beautiful track.<\/p>\n

\u2018Loveless\u2019, immediately notable as the least electronically driven track of the album, even more notably stands as the first (almost) fully acoustic guitar orientated track of PVRIS<\/strong>\u2019 recent material (if one isn\u2019t counting the acoustic alternative rendition of \u2018Hallucinations\u2019, of course). Recalling nostalgic inclinations towards the band\u2019s excellent 2014 Acoustic EP, \u2018Loveless\u2019 puts Lynn Gunn center stage to deliver one of her most poignant vocal performances of the band\u2019s entire discography. Through aching croons of \u201cI guess I\u2019m loveless, then I guess I\u2019m loveless,\u201d<\/em> Gunn\u2019s performance is mesmerizing, and Alex Babinski<\/strong> Und Brian MacDonald<\/strong> celebrate the vocalist in the best way possible: letting the performance speak for itself.<\/p>\n

Completing the album\u2019s third act, Use Me<\/em> brings back some of the album\u2019s electronics through \u2018January Rain\u2019s shimmering synthesizers and manipulated vocals, but it\u2019s certainly worth noting that the overall punch of the former \u2018Hallucinations\u2019, \u2018Death Weight\u2019 and \u2018Gimme A Minute\u2019 seems to have dissipated \u2013 and not in a negative fashion. There\u2019s a deliberate sense of melancholy that persists throughout \u2018January Rain\u2019 and \u2018Use Me\u2019, both slow burners that fully utilize the glittery electronics afforded to them, alongside another welcome return of the harp during \u2018Use Me\u2019. Indeed, this very same sense of melancholy is present in album finale \u2018Wish You Well\u2019, but the mid-tempo instrumentals perhaps more likely to appear throughout All We Need of Heaven, All We Need of Hell<\/em> return to provide a steady bass guitar and percussive backbone. Truthfully, it still remains one of the most reserved tracks of the album, but Gunn\u2019s exhilarating repetitions of \u201cI wish you well, I wish you more than you deserve \u2013 I wish you well, I hope the next one doesn\u2019t hurt\u201d<\/em> are a wonderful closer to the album.<\/p>\n

Summarizing PVRIS<\/strong>\u2019 third outing in only a few sentences is something of a challenge: on one hand, it\u2019s entirely undeniable how much the album displays the band\u2019s versatility, on the other, the album seems to have encompassed everything that makes PVRIS\u2026 PVRIS<\/strong>. It may have not been the sequel to All We Know of Heaven, All We Need of Hell<\/em> that some fans wanted, but from the absolutely stunning \u2018Gimme A Minute\u2019, the explosive chorus of \u2018Hallucinations\u2019 through to the album\u2019s quietest offering \u2018Loveless\u2019, Use Me<\/em> has a moment lovingly dedicated to each and every step of the band\u2019s career. Once again, even in spite of some deliberate changes in style, PVRIS<\/strong> have proven and exceptional act in the delicate art of taking the deepest, darkest corners and turning it into something mesmerizing.<\/p>\n

\u201cNothing changes, I\u2019m getting colder \u2013 dead weight hanging off of my shoulders.\u201d <\/em><\/p>","protected":false},"excerpt":{"rendered":"

You know that prickling feeling that creeps down the back of your spine after a particularly miserable day? Perhaps you\u2019ve … Weiterlesen \u2026<\/a><\/p>","protected":false},"author":75,"featured_media":13011,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","transcript_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-13010","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-50"],"_links":{"self":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/posts\/13010","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/users\/75"}],"replies":[{"embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/comments?post=13010"}],"version-history":[{"count":0,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/posts\/13010\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/media\/13011"}],"wp:attachment":[{"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/media?parent=13010"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/categories?post=13010"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/altwire.net\/de\/wp-json\/wp\/v2\/tags?post=13010"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}