PVRIS ERGREEN

Over the course of 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.

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 groups sound in. Although, 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 course of 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 altpop ‘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.

SNÕÕPER Super Snõõper

Some songs resemble heartbeats, Snõõper’s debut Super Snõõper resembles cardiac arrest. With its runtime clocking a mere 23 minutes, the Nashville based punk outfit’s first effort adds a whole new meaning to short and sweet. Although, ‘sweet’ may not be the best adjective to describe the group’s sound, ‘short and manic’ is probably more apt.

Wasting no time in its approach, Super Snõõper throttles listeners with whirlwinds of frenetic punk riffs, supercharged percussion and Blair Tramel’s crazed vocals right from the outset. Opener ‘Bed Bugs’, marries intersections of garage, psych and noise, all in a crisp yet chaotic 34 seconds, ‘Fitness’ adds rapidfire riffs that make it seem like Ian Teeple (guitar) is trying to set the world record for most licks per second, while ‘Xerox’ sees Tramel barely take a breath as her high-pitched warbles raucously overlay themselves with each line. It’s like the Powerpuff Girls on speed.

But yet, it’s organised chaos, with songs like ‘Defect’ and ‘Running’ showcasing the group’s stylistic adaptability through the inclusion of spacious grunge basslines, thin wire Vic Flick-esque guitar solos and sweeping symbol arrangements. Highlighting that Snõõper brings much more to the table than just rambunctious punk energy.

That being said– while Super Snõõper is undoubtably a punk record, it’s the kind of punk that would make John Lydon (Sex Pistols) go, “what the fuck is this?” John Dwyer (Thee Oh Sees, Coachwhips) on the other hand, would be in awe.

RELEASE: 14 JUL LABEL: HOPELESS RECORDS

RELEASE: 14 JUL

LABEL: THIRD MAN RECORDS

KEVIN BORICH Duets

While collaborative albums are a great idea in theory, they quite often end up being colossal flops. Whether a result of artists bringing too much ego to the table, or just a genuine lack of cohesion between varying styles, they commonly end up feeling more like a copy-paste of different artists verses, as opposed to actual curated songs. (I’m looking at you Sound City.)

Kevin Borich’s Duets is an exception to this. Boasting an illustrious list of collaborators, as well as Borich’s veteran guitarmanship and songwriting ability, Duets highlights how effective well executed collabs can be.

And there’s a clear reason for it–Borich doesn’t care if he’s the star of the show. Even though he’s had over 50 years experience being a bonafide star in his own right, Duets highlights his clear ability to step back and adapt to the individual style and nuance of the artists he’s working with.

‘Straight From My Heart’ channels soulful blues-rock riffs to match Ian Moss’ motown inspired vocal cadence, ‘Keep It To Myself’ adopts garage-rock distortion and blistering solos to make Tim Rogers’ punkish charm feel right at home, while ‘I’m Together’ steps into realms of 1930’s swing, adding the depth of brass instrumentation to complement Ella Hooper’s nasally jazz tones.

And somehow, it’s executed in a way that maintains fluency as an album. Quite a hard feat given it features upwards of 13 musicians, but yet one that Borich pulls off with finesse.

Sentimentalism

The Slingers are one of the few emerging groups that have the power to genuinely stop you in your tracks. And unlike other acts, they don’t need to be brash to do it. Instead, The Slingers root their sound in timelessness, delivering dreamy ‘motel-pop’ melodies that are shadowed by a pained sense of wisdom. Their debut, Sentimentalism, is a testament to this. Marking itself as somewhat of a confessional for lead songwriter Robert J. Mahon, Sentimentalism explores the struggles of finding love in an age of increased loneliness.

From anecdotes of falling in love–while your spouse is falling out of it (‘Down To The Bone’), to acerbic confessions of not knowing how to spend time alone (‘Our Last Day In The Sun’), Sentimentalism doesn’t shy away from divulging deep home truths–no matter how uncompromising they may be.

In a particularly trenchant moment, ‘Needle and the Nine to Five,’ sees Mahon navigating the stark realisation that for many (including himself), life becomes a subconscious choice between addiction or employment. Although, with flurries of synthpop balladry and upbeat alt-country guitar riffs acting as the backdrop, you’d be forgiven for not noticing its hidden darkness. Which is something that could be said for Sentimentalism as a whole, with the debut highlighting The Slingers enriched ability to mask deeply emotive lyrics behind facades of vibrant, uplifting post-punk melodies. Giving listeners the impression that everything is ok– even when it couldn’t be further from the truth.

IMMY OWUSU

LO-LIFE!

Immy Owusu may well be one of the most deserving word of mouth sensations that our region has seen in recent years. His debut release, LO-LIFE! is an absolute masterclass of instrumentation, dynamically showcasing the Torquay based musican’s multifaceted artistry alongside a meticulous balance of both synthetic and organic arrangements.

Blending mellifluous mixes of jazz, psychedelia and African highlife, Immy’s self-described brand of ‘lo-fi highlife’ draws from a variety of influences, while delivering a healthy dose of originality, with his velvety smooth, self-effacing vocals and bi-lingual lyricism adding a uniquely enriching flavour that can only be described as individualistic.

Which is further strengthened by his all-star band, which features members of Karate Boogaloo, The Senegambian Jazz Band and Surprise Chef, who help to bring Immy’s magic to life. And it really is magical— from the opening fanfare of ‘Elevation’, to the methodical finger-picking and ethereal monosynth lines of ‘What A Love’, you’ll find yourself immediately mesmerised by Immy’s lush soundscapes.

In other moments, Immy balances hand-percussive elements, highlife grooves and powerful harmonizations of electric and acoustic guitars alongside Twi lyricism and delicate vocal melodies (‘The World Is Here For You’). ‘Sunsum Dware’ on the other hand, adds the swagger of distorted rock riffs and perfunct drum beats to help up the ante for the rallying calls of its successor, ‘Nyame Kasa’.

It really is a masterclass, delivering moments that even the best musicians in the world could learn something new from.