PVRIS releases their first song of the year – a powerhouse all-female collab with Canadian rapper Tommy Genesis and experimental DJ/producer/vocalist Alice Longyu-Gao (featured artists) as well as the track’s co-writer, Kanner. The culture curators are a lethal combo with the sinister new track, which sees Gunnulfsen’s signature production flair elevated to new extremes. Historically, men have feared and persecuted women’s power and magic, but, propelled by unstoppable punk, political, and raucous energy, the song is a testament to each artist’s unique creative vision and the power of female collaboration. “Burn The Witch” marks PVRIS’ first release of 2024, and will serve as the lead single to PVRIS’ forthcoming project, due this spring via Hopeless Records. The project is the follow-up to her critically-acclaimed fourth studio album, “EVERGREEN,” which debuted at #1 on the UK Official Top Rock & Metal Albums chart. This April, Gunnulfsen embarks on a 47-date international headlining tour, with stops at the infamous Troxy in London, and The Wiltern in Los Angeles.
Lyndsey Gunnulfsen of PVRIS shares of the track:
“I’ve been a huge fan of both Tommy and Alice for quite a while so it was an absolute dream to not only have them on a track together but to also get to be crafting the production around their parts.”
On the project, Gunnulfsen flexes full authority, with “Burn The Witch” marking her first fully self-produced release, a feat she has been working towards over PVRIS’s entire decade-long career.
In addition to featuring a handpicked curation of genre-bending female artists on this upcoming release, the project initiative continues structurally, with exclusively hiring female writers, mixing engineers and mastering engineers to be a part of the music from start to finish. *For Gunnulfsen, this pledge encompasses all female, female-identifying, trans, and non-binary musicians.*
“At its core, I just wanted to make a fun project full of some bad bitches in music that I love and create a space where we can express whatever we want and get to experiment sonically. I didn’t want to be overly precious about it, I just want to have fun and free flow!” But this has a deeper intention at its core. Speaking on a decade in the industry, “It should be noted that while there are already so many iconic and incredible female producers, writers, engineers etc. out there (I’m no trailblazer here), but there is nowhere near the amount that there should be. This isn’t even something to debate, go look at the statistics.”
“I think I’ve truly been in hundreds of writing/producing sessions at this point in my career and I can recall less than 20 of those that were with female writers and around 10 that were with female producers. From labels and publishers to management, there is so little advocacy to get artists into rooms with women in general. It’s even rarer to see the same advocacy towards connecting and putting only women in a room together, especially without it being made into a commodity, “special event” or task to check off. These collaborations should be happening organically regardless of who is watching.”
“I don’t really understand what everyone is so scared of? That we’ll all have too much fun together? It’s all I’ve experienced in this chapter (of working almost exclusively with women); just pure fun. I feel like a kid again and this is the least stressed I’ve felt making music and I really hope I can be a small part in helping to facilitate those same feelings outward for the other artists I’m bringing onto this project and working with in general. I don’t want this to be the only “volume” of this project, there’s too many bad bitches in all music making roles out there to cover in just one release like this. This is something I’d love to continue and grow in.”
About the recording process:
“The track was produced and recorded around the world while on tour and in between tours at the end of last year. I started the track for fun in a coffee shop in Ashland Oregon on an off-day on the Godless/Goddess tour (where I met Tommy Genesis). Started working on some of the parts with Kanner at my home studio in LA before leaving for tour. Soon after, amidst travels, I worked on completing it in various locations including the tour bus. I sneakily recorded some of the live drums for the track during our breaks at rehearsals in London, connecting some of our live-show drum mics to my interface and creating loops for certain sections. Soon after that, Tommy and Alice sent their parts virtually and I worked on piecing everyone’s parts together while we were finishing up on tour in Europe. I set up a little travel studio in Bath (UK) and Sydney AUS to get that done and track a few other remaining parts. This track was finished on my parents couch the night I flew in for the holidays. I feel so grateful that Hopeless and the PVRIS team were so supportive of this project.”
