“I’m not something you can tame that easy.”
Far removed from the post-hardcore stylings of their 2013 self-titled EP, PVRIS continues the steady musical evolution that has been notable over the course of their discography with fourth studio album EVERGREEN. Each subsequent release since that initial EP has seen vocalist, multi-instrumentalist, songwriter, and frontwoman Lyndsey Gunnulfsen—better known by her stage name Lynn Gunn—lean further and harder into the more pop and electronic sides of PVRIS’ sound. In particular, critically acclaimed 2020 album Use Me was notable for its increased electronic influence compared to its predecessors, and with EVERGREEN, Gunn both doubles down on this sound and stretches it further.
With its tamer, more stripped back instrumentation, single “ANYWHERE BUT HERE” led the album cycle off on a wistful and melancholic note longing for escape. Packaged with “ANIMAL” and released back in October 2022, the two singles offered an interesting first look at EVERGREEN with their contrasting sounds. While “ANYWHERE BUT HERE” stands as more of a sonic outlier on EVERGREEN’s tracklist, “ANIMAL” helps set the stage for the more upbeat front half of the album with its electronic grit and subdued trap hi-hat working to break free from the metaphorical cages imposed on us by various sources, whether that be one’s self, other people and agencies, or even the trappings of celebrity and fame.
Despite venturing further into the realm of pop music, PVRIS’ evolved electronic sound has allowed them to retain some of their edge and utilize it in confronting the various topics brought up across EVERGREEN. Album opener “I DON’T WANNA DO THIS ANYMORE” continues the defiant tone set by “ANIMAL”. “GOOD ENEMY” sees Gunn continuing the fight against herself and her own personal demons with one of the catchiest choruses on the album. “GODDESS” advocates for the reclamation of female autonomy with its dancy, fuzzed out guitar tones and infectious vocal hooks. “HYPE ZOMBIES” sees Gunn utilizing a Halsey-esque flow over a girthy, distorted bass. “TAKE MY NIRVANA” is continued vocal infectiousness over a pulsing mix of different synth elements and works as an effective move into the back half of the album.
“SENTI-MENTAL” sees the return of Gunn’s more sweet and melodic vocals over more conventional instrumentation, including a recurring, springy piano trill. The brighter sound serves as both an effective balm to the grittier sounds explored in the more energetic first half of the album, as well as a nice transition point into the more subdued final run of tracks on EVERGREEN beginning with the aforementioned “ANYWHERE BUT HERE”. However, it’s about this far along into the record where its pacing issues have become evident. With the six tracks from “GOOD ENEMY” to “SENTI-MENTAL” each falling short of three minutes long, a significant portion of the album goes by at a quick pace. While I wouldn’t actually change the order of the tracklist at all, I do wish that some of the songs ran longer to help break up the quick flow of the album.
Just as well, I think a lot of my issues with EVERGREEN’s pacing stems from the amount of singles put out ahead of the album’s release. At only eleven tracks long, having more than half of those tracks (six of them) released as singles before the album is even out feels gratuitous. While I appreciate the cinematic ties between the music videos and visualizers for “ANYWHERE BUT HERE”, “ANIMAL”, “GODDESS”, “LOVE IS A…”, and “EVERGREEN” and how they tie in to the themes presented across the album, I find that having so many singles really lessened the impact of the full album experience for EVERGREEN as a whole. “GOOD ENEMY” served as the record’s fourth single yet its lack of a proper video (not even an official visualizer) leaves it fallen by the wayside, rendering its inclusion as a single excessive.
Opening with a mix of gorgeous vocalizations and pretty acoustic instrumentation, “HEADLIGHTS” picks up where “ANYWHERE BUT HERE” left off and helps keep the chiller vibes going a bit longer. The final two singles, as well as the final two tracks on the album, “LOVE IS A…”and title track “EVERGREEN” help end the record on a strong note, despite my gripes about their inclusion as singles. Layered electronics, a heady, soulful bass, and sultry lyricism form my favorite cut from the album in “LOVE IS A…”. On title track “EVERGREEN”, Gunn denounces a culture obsessed with virality and instant gratification in favor of allowing her career’s work to speak for itself and “to be evergreen”, leaving its own lasting impact that stands the test of time.
Those who have enjoyed Lynn Gunn leaning further into the more pop and electronic sides of her sound should find plenty to love on EVERGREEN. Despite pacing issues and a drawn-out pre-release strategy with the record’s singles, the fourth offering in PVRIS’ discography is a consistent and cohesive body of work that continues to push the boundaries of their ever-changing sound, with Lynn Gunn really shining in her role as the creative force behind PVRIS.
8/10
EVERGREEN is set to release this Friday July 14th via Hopeless Records and can be pre-ordered here. Additionally, PVRIS can currently be found on the lineup for the Sad Summer Festival before embarking on The Godless/Goddess Tour with Poppy, with tickets to both tours available here.