No gold this time, just fire…
[Video][Website]
[6.50]
Thomas Inskeep: There will be comparisons to Paramore, because Pvris is a rock band with a female singer, but they’re unwarranted; this is better all-around: tougher, gnarlier, and with, sneakily, a more DOR beat. Tweak the production and this could be 1982, though I’m glad it’s not.
[7]
Alfred Soto: I could appreciate this would-be piece of incineration if Lyndsey Gunnulfsen fought the beat and came up with an attractive vocal melody instead of following the usual progressions.
[5]
Iain Mew: The most striking part is the bridge where the dark synth undercurrents coalesce — ooh ooh ooh — into something that sounds like La Roux’s “In for the Kill”. It embodies the calm certainty that backs up the thrashier moments of revenge Pvris unleash.
[7]
Ramzi Awn: Rewind back to 1999 and my girlfriend’s Le Baron and “Fire” sounds just right. Surprisingly, it does more than hold up — even today. The drums push and shove Gunn’s searing voice with conviction, and it’s clear that Pvris is more than just your average rock band.
[7]
Brad Shoup: Focus on the “burning/turning” rhyme and you may miss how astoundingly grim this is. The bratty strut of the pre-chorus is great, and Lyndsey Gunnulfsen pronounces “burning up” something like “burgning up,” so it’s a maximum taunt. But the band moves between passages a split-second too late, like they built this song with the controlled pyro built in.
[5]
Katherine St Asaph: “Fire” is closer to EDM-pop than a lot of this genre, fuzzy processing on everything and melodies right off the radio (“Monster” and “Firework”), but it delivers what all great pop-punk does: a rush of Manic Panic to the face.
[8]