When it comes to being instantly recognisable, there aren’t many bands that can match Pvris, whether that’s in regards to their effortlessly chic black and white aesthetic, or their highly cultivated sound. However, in the three years since the release of their debut album White Noise, the Massachusetts trio have managed to avoid the trap that bands with such identifiable sounds so often fall into, and have expanded their scope without compromising on their unique charm that drew people to them in the first place.

All We Know Of Heaven, All We Need Of Hell is a sweeping, cinematic kind of record, and one that confidently manages to be several things at once. ‘Heaven’ and ‘Nola 1’, the tracks that bookend the album, each have a sleek and uber modern, radio-ready feel – whilst, in the middle, songs like ‘Separate’ and ‘Winter’ prove the band aren’t afraid to abandon razorsharp precision to explore more ambiguous and atmospheric fare.

Though at times it feels deceptively directionless, it never once loses it’s way. Even the parts that feel the most like filler – such as string-laden ‘Walk Alone’ or the ferocious, if slightly overblown ‘No Mercy’ – still serve to make the world Pvris create more fully realised. ‘Same Soul’ starts out as a sweetly romantic offering that isn’t afraid to show its teeth by the first chorus, while ‘Half’ provides a deliciously dark homage to 80s goth rock that feels like it could easily become The Cure’s Crow soundtrack triumph for a whole new generation.

In short, this is an album that knew exactly what it set out to do, and managed to navigate the notoriously difficult minefield of making a sophomore record with relatively few missteps. Though there are points where the intricate soundscapes and lyrical motifs seem to muddy, all in all it builds on the formula that made Pvris so compelling, while boldly striking out to push new ideas as far as they could possibly go.

All We Know Of Heaven, All We Need Of Hell is released on August 25th.

Rhiannon-Skye Boden