All We Know Of Heaven, All We Need Of Hell - PVRIS (2017) REVIEW

PVRIS - All We Know Of Heaven, All We Need Of Hell (2017)

Their first album ‘White Noise’(2014), wired with gothic rock synths and laced with powerhouse vocals from Lynn, propelled PVRIS to fame. This era was iconic for them, as the introduction to the band for most people, stepping in the direction of headline shows and huge supporting slots. PVRIS crafted their own genre, no other band on the same wavelength, whether being lyrically driven with mammoth riffs or massive tracks that would later fill the floor live, it was a huge release, regardless of it being their initial one.

I was unsure of what the band could create after such a successful debut album, but they explored a different field of excellence and growth with what would be ‘All We Know Of Heaven, All We Need Of Hell.’ For their sophomore album, PVRIS grasped life in a way where it still sounds dark and brooding but much more mature than the first era. Learning of the new era by Lynn smashing the iconic ‘White Noise’ mirror to mark the end of an era in the ‘Heaven’ music video and letters were sent to some lucky fans, who now have a piece of PVRIS history.

Opening a new chapter for PVRIS, striking platinum blonde Lyndsey gently travels along the corridors of a house, pictured in the ‘Heaven’ music video, as the initial visualiser for this new era. Revealing heartache and pain through shining vocals in the opening lyrics ‘I think we were cursed from the start’, Lynn begins to bear it all. The theme of separation is carried through the album, haunting and beautiful to tug at the heartstrings. Second single ‘What’s Wrong’ embodies dark pop and bouncy riffs to create a raw bridge where Lynn’s vocals are showcased. Brian’s power to supply a gigantic baseline, driving each track into another dimension, evident in this track as it erupts into a huge chorus.

‘Half’ was never a single from this album, however the iconic drum battle between Lyndsey and touring drummer Justin Nace during this track live became a crowd favourite. The track voices Lynn’s efforts to portray ‘I never wanted a body’ into something delicate and whimsical, even though it’s equal to a cry for help through broken lyrics. A raw addition to this full-length, giving insight to how hard the years after ‘White Noise’ actually were.

Beautifully delicate harp intertwines the next track ‘Anyone Else’, starting softly but building to be an extremely powerful display of talents. The music video for this track combines both beauty and pain, the female protagonist endures a niche representation which PVRIS have carried throughout their discography. In my opinion, this track is a wonderful presentation of growth - as of late, where Lyndsey brings the lyrics to ‘I’m the only one I’ll ever know’ to life, emphasising through the electric atmosphere created, how she’s healed from the pain.

‘Walk Alone’ holds thunderous lyrical content with ‘I was the smoke in your lungs, tearing you apart’, combined with intense drums and later crashing into blaring vocals from Lyndsey. Evoking raw strength through the eruptive production and lyrics. Personally I would’ve liked to hear PVRIS play this live during the era as it ties the album together perfectly, embodying growth from other tracks like ‘Heaven’.

Another track that was never performed live, ‘Nola 1’ has become such a valuable addition to PVRIS’ discography. Lynn spent several weeks in New Orleans writing and recording there, the ‘1’ stood for a house number that they recorded in. Some lyrics like ‘painting ceilings blue’ also translate to old Nola traditions to ward off bad spirits. Lynn has always been fascinated by New Orleans but also spirits and tarot. The track feels like it was carefully crafted to be something secretly sinister but quietly happy, the way PVRIS have created such an important track is incredible. At the start of the album the lyrics are ‘I think we were cursed from the start’ and but in this track end with ‘But I keep singing’ implying the message of growth yet again.

‘Same Soul’ is engaging and endearing, speaking of lovers finding each other multiple times in their lives - different to any other track on the full-length. While ‘Winter’ got its own visualette, being a track they chose to play live. A track about a lover's cold habits, stabbing lyrics such as ‘I feel too little and I think too much’ . ‘No Mercy’ is a chaotic anthem and became a favourite live, as Lynn throws herself into the crowd, holding fans hands. The track explodes into a powerful chorus, bellowing ‘There’s blood in the water but it tastes so sweet’.

An emotional masterpiece ‘Separate’ solidifies the dark tones in the album, melancholy weaves through this track and oozes liquid sentiment. The way PVRIS can create beauty in pain is a gift they have, this track continues a romantic connection with the lyrics and tells such a powerful story of searching for someone to bring you back together after you’ve been torn apart.

‘All We Know Of Heaven, All We Need Of Hell’ didn’t mean as much to me when it came out as much as it does today, every component of the album feels as though it’s been touched with their own hands. The raw emotion felt transcends into a celebration of life, even though it’s melancholic and dark, PVRIS have made such an iconic addition to their discography. In my opinion, just as powerful as White Noise, once you strip it back - if not more powerful.

PVRIS have chosen to revisit this album for its own livestream with Pillar on January 9th 2021. It’ll be a gift to everyone to hear these songs performed nearly 4 years on, with Lynn’s voice

healthier and the present dynamic of the band.