![]() Roddick agrees, nothing that “we were really inspired by the things that were happening a few years before we were a band as well. “There was something in the air back 20,” says James about the creation of the record. And Corin Roddick’s production has evolved from the barebones 808s and seismic bass drops to a more expansive and open-ended sound, accompanying James’ stories with appropriate textures and ideas.īut something about Shrines still exists in its own universe these limiting factors, like lyrical content, drum sounds, and song structures, created a vacuum of space, a brand new arena for pop music that dazzled and hypnotized. ![]() Megan James’ lyrics moved from the poetic-yet-mildly-disturbing lore of Shrines to stories and narratives that were even more personal, finding a myriad of ways to reflect powerful emotions with increasing levels of detail and vulnerability. When you look at Purity Ring’s output following Shrines (2015’s Another Eternity, 2020’s WOMB, and most recently, their EP Graves, which was released back in June of this year), they rightly expanded outwards after all, a group can only harness a sound within these “rules” before inevitably breaking them. Indeed, Shrines - which celebrates its tenth anniversary today, July 20th - is an album that represents Purity Ring operating with only their essentials, forging a path that would later define the sound of modern pop, if only for a portion of the last decade. “All the drums sound a certain way, all the vocals sound a certain way, all the synths… we created a strict palate of things that sort of worked together and tried to make as many different kind of musical ideas within that palette,” Roddick tells Consequence. Purity Ring‘s Megan James and Corin Roddick describe their debut album, Shrines, as one with very strict rules.
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