There is a moment where every artist decides that it is best to create music based on instinct rather than expectation. For PVRIS (pronounced: Paris), a three-piece rock band from Boston, that moment came during their conception. The trio formed in the studio while making songs for a previous project and realized that they needed to collectively eschew any preconceived idea of what music should be. “It occurred to us that we should just make whatever we want and not worry about fitting into the local scene,” Lynn says. “Our vision was whatever we felt like doing. It was about making what we felt like making in the moment.”
That vision has manifested itself into PVRIS’s debut album White Noise, which follows an acoustic EP that came out in April of 2014. The album is its own entity, a collection of dynamic, surging rock songs that combine the musicians’ collective influences and inspirations. The band has continually fostered an interest in electronic music and hoped to organically bring those sounds into their pop-tinged rock numbers. “We knew we wanted to go in a more electronic direction on the album,” Lynn says. “We had that vision but we had no clue how it would actually sound. We let the music find itself.”
White Noise was recorded last winter with musician Blake Harnage, a longtime friend of the band, in his home studio. It was Blake’s first time producing a full-length album, but his influence became essential to the music. “Blake texted me after we signed to Rise saying he thought we could make an awesome record together and we worked it out and it was amazing,” Lynn says. “He doesn’t have a filter. He just makes the music. He doesn’t care what people think of him or his music – he just lets his ideas flow and embraces them. He changed our perspective on writing and making music.”
The songs on the album are connected through the lyrics and the title, which evokes both the supernatural and the harsh sound created by TV static and electricity. Ghosts, often metaphorical, populate the songs, a haunting theme resonating throughout. Lines reappear in various tracks, hinting back at one another and tying the album together. Each song exists as its own entity, embracing different musical vibes, but there is a sense of cohesiveness through White Noise. “St. Patrick,” a propulsive rocker, is driven by Lynn’s evocative vocals, which soar over an electronic flourish that surges beneath the guitars. “White Noise” has a moodier quality, its driving beats leading the way for a chorus that aches with longing, while “My House” balances insistent, pummeling rock sounds with melancholy reflection. Together, the songs create a darkly tinged album that resonates with confidence.
“There was some anxiety in the studio because we would think something sounded amazing but that no one would get it or take to it the right way,” Lynn says. “But we got over that fear. Blake helped us find confidence in what we were making. We had to be happy with what we were making no matter what and that was the mindset we had for the rest of the process. We’re super proud of the record and how it represents us as a band.”
PVRIS, who has toured the U.S. several times in the past few years and played Warped Tour in the summer of 2014, have reimagined their live set-up to reflect the album. Ultimately, PVRIS wants to make music that is their own. Without expectation, the musicians have songs that give something important to their audience – whatever that may be.
“I hope people can take anything they desire away from this record,” Lynn says. “It can be anything. We made the music because we loved it and now it can belong to everyone else.”