PVRIS' 'Evergreen' chronicles Lyndsey Gunnulfsen's solo triumphs and reaffirms her position as an unstoppable force in the music world.
Over the last decade, PVRIS have had their fair share of ups and downs. After the release of their debut album, White Noise (2014), it seemed that the Massachusetts-based alt-rock outfit were primed to be the next group spearheading the pop-rock scene.
Six years later, it looked like they were about to implode. Guitarist Alex Babinski was fired after allegations of sexual misconduct surfaced, shortly after the remainder of the group’s members announced a mass exodus. For many, it seemed like PVRIS‘ career was over.
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Then, lead songwriter, producer and multi-instrumentalist Lyndsey Gunnulfsen (Lynn Gunn) announced that she’d be solely taking over the creative duties for the band and releasing the group’s third LP, Use Me. A surprising move, but one that propelled her level of stardom to even greater heights, with many fans adorning the sonic direction that Gunn decided to take the group’s sound in. Yet, after the success of Use Me, Gunn completely disengaged from the public eye, yet again leaving fans questioning the future of the group.
Well, it may have felt like forever for longing fans, but she’s finally back, and once again she’s demonstrated that as an artist, she doesn’t need a band backing her. As asserted in GODDESS, Gunn is a “motherfucking brand” in her own right, and on PVRIS’ fourth effort, Evergreen, she unapologetically proves it.
From the riotous chants of GOOD ENEMY, to the venomous bite of ANIMAL’s spat vocal delivery, it’s PVRIS in their most unflinching form yet. Although, while brazen in delivery, Evergreen is much more than just an album fueled by aggression, instead it’s a chronicle of the internal battles Gunn has faced within herself over the last 18 months.
Poised with an incendiary nature to her lyricism, Evergreen sees Gunn pose complex discussions on fame, technology, spectacle and female autonomy, all while battling demonising doubts about her own self worth.
And it doesn’t just discuss these thoughts, it lays them bare. Opener I DON’T WANNA DO THIS ANYMORE navigates the uncertainty of Gunn’s continued commitment to music, HEADLIGHTS acknowledges the self-perpetuating nature of feeling inadequate, while the alt-pop LOVE IS A… delivers startling confessions such as “I ain’t been to heaven, but I’m close.”
In another sagacious moment, title track EVERGREEN, discusses fears of ageism within the music industry, profoundly stating that “no one gives a damn shit ‘less you’re dead// or you’re seventeen,” before turning the blame back on herself to admit, “I’m jaded but I’m real with it.”
Which is not a statement that’s been undersold. If Evergreen shows us anything, it’s that Gunn is a brutally honest and dynamic songwriter unafraid of putting it all on the table.
Evergreen is out now via Hopeless Records. Stream it here.