IVRI
THE EVIDENCE OF YOU
Released July 31st 2026
TRACKLIST
The interpretations I have shown on this page are my own perspective and not confirmed to be accurate unless directly cited from the artist. Many songs and lyrics discuss the lore within Ivri’s universe, and although I generally won’t go into that here, I might in a future page. Instead, I have mostly given my own perspective and how these lyrics may relate to people outside of the lore. This project has many intricacies which you can find out about when Ivri posts on her socials!
EP INTRODUCTION
‘The Evidence Of You’ is the latest EP from Alternative artist Ivri and follows her last album, ‘The Theory Of You‘. Her earlier EPs, such as ‘The Star Factory‘ and ‘Sometimes‘, also exist within the same creative universe, with each project’s sound shifting for each new release. This accompanies the narrative of the story being told: the setting of her earlier works being a dreamlike world, and her new releases being set in a harsh reality. This results in ‘The Evidence Of You’ sharing some of the same gritty elements from ‘The Theory Of You’, with some moments becoming even heavier. The contrast in sound to her earlier works shows her true progression as an artist. I love the intention behind matching a sound to a concept, and changing that sound as the concept evolves.
The EP attempts to add lore progression with many interlinked references, while ensuring each song has its own identity and meaning. Ivri and her collaborators have always done a fantastic job at this, with every track having many real-world interpretations while still exploring her creative universe. With every song holding a metaphorical meaning, new listeners can still appreciate her writing without knowing the lore behind it. In my opinion, the intention behind her lyricism and world-building has gained clarity in her recent works. This is especially evident throughout this project. The maturity in her curation is felt through many lines that are emotionally engaging and clear, yet still interesting and clever.
The lead-up to this EP began throughout February with clips of the first single ‘NOISE’ being posted. On March 6th, it was released with no further mention of an EP. However, multiple unreleased snippets over the next two months began to suggest a bigger release. During her first European tour, ‘WHOEVER YOU WANT ME TO BE (NO MORE)’ was released as the second single on June 5th. With her touring season coming to a close, and snippets allowing a pre-save, all that was left was a release date. Finally, on July 20th, ‘THE EVIDENCE OF YOU’ was announced to be released on July 31st, 2026.
Off the back of her European tour, Ivri is not letting any of her momentum go to waste. Alongside the release of ‘The Evidence Of You’, she has hosted multiple events. This includes a fan meetup in Chicago and a performance at Lollapalooza. The night of the release, Ivri hosted a virtual listening party followed by a Q&A on Discord. Many of these additional activities are positioning the EP to hold a very memorable place for engaged fans. Moving forward, tour dates in the USA have been announced and can be seen on her website Tour – ivri Official Store.
SONG BY SONG
SABOTAGE
SABOTAGE opens the EP with static, introducing us to a song of ordered chaos. It’s then followed by a guitar with a noticeably dark tone, showing a stronger Gothic element compared to her other releases. Played at 160bpm, the fast-paced nature of the song is heard in every instrument, including the opening guitar riff. The drum patterns and processing have stylistic similarities to tracks that I have heard within the Jungle and Drum & Bass genres. Perhaps not entirely intentional, I enjoy hearing these elements in a completely different genre. Despite the backbone of this song being so strong, I find the minor details reel me in even further. During the chorus, we hear the primary guitar come back in with a smooth run down to the correct chord. During the refrain, instead of a run, it’s a more rough-edged descent with individual chords. In both instances, these details have become moments I personally look forward to on every listen. The ability to add these tiny elements that make a lasting impact is a trait that many people look for in an artist. Overall, the song sounds as if it were curated to ensure no moments go to waste. We hear it in moments when electronic production is woven into the track’s deeper layers. Ivri’s vocals are also layered in certain sections, with some deliveries sounding very different to one another. This intense production is a recurring theme throughout the project.
The lyrical side of the track may get overlooked with how enthralling the production is; however, there is still plenty to digest. The experience of self-sabotage is detailed immediately. ‘A drowning astronaut’ strikes me as the first abstract line, the feeling of losing control amidst isolation. The process of destroying something you’ve built with someone because of your anxieties. The doubts that can cloud your vision, perhaps leading you to act irrationally. ‘I sabotage, is this what I really want?’ follows the feeling of developing doubts when things seem to be going well. ‘I will cry more than you, more than you’ is repeated 4 times throughout the song. This line potentially details the emotional strain inflicted through self-sabotage. The stress of derailing a relationship through your uncertainties, coupled with losing a dynamic that at its core you may have wished to keep. The confusing and draining thoughts that take control result in an even more intense crash once all has settled. The line could also be a way of expressing to the person how you didn’t want to lose them, but it will be better for their own sake in the long term. Even with that in mind, I believe the line was written to sound bitter in some capacity. The competitive connotations come across as a potential insight into how their dynamic truly was.
DETAILS
TRACK NUMBER: 1
LENGTH: 2:32
TEMPO: 160BPM
KEY: 10A
PRIMARY PRODUCERS: SCRO, TK THE ARCHITECT
PRIMARY COMPOSERS: IVRIANA WRIGHT, ZACH ZANGHI, NICHOLAS BERGERE
SPLIT (SHE IS NOT ME)
Stylistically, the second track remains on theme, but with enough differences to not sound reused. For example, the drums still play a fast-paced primary role in this track, but also bring notable changes. They are placed further ahead in the mix with much more clarity; there isn’t a moment when they don’t play a role throughout this song. These subtle changes between songs are essential in making each track refreshing rather than repetitive. The same can be said for the guitar work. Although there was distortion beforehand, it’s dialled up even more here, engineered to sound imposing. At times, you could be forgiven for not noticing it, as it becomes more of a vague noise that supports the track. The scale and prominence are especially heard during the bridge, where most of the instrumentation is dropped, and it works alongside only her vocals. One specific detail that has become a highlight for me is the second guitar that we hear towards the latter stages of verse one, and after the final chorus. The tone of this guitar is almost a parallel to the primary one I mentioned prior. Much clearer, very sharp and rough-edged. These result in interesting sections that sound unique within the track. When it comes to vocal delivery, Ivri opts for two distinct styles. During the verses, we get a fairly sparse delivery with some drawn-out lines. However, this contrasts with the chorus, which almost has a staccato phrasing at times. Having some of these lines run onto one another is a creative decision I enjoy, as we haven’t seen it from her in the past very often.
I find this to be much more lyrically dense than the opener. To begin, this track could directly address the discrepancy between her and the portrayal of herself online. ‘I am on a pedestal, but I am not above you, you should never meet your idols, because they’re just like you’ is the first nod to this idea. Ivri acknowledges the platform she has, yet reminds fans that, although she has this audience, it does not mean she is any better than the listener. She warns that fans idolise those with a platform like her own, but in reality share many of the same difficulties. ‘I’m not who you see on your iPhone screen, I’m not her, she is not me, I’m not who you hear on your mp3, I’m not her, she is not me’ talks about a similar issue from a different angle. The perception people may develop of an artist can sometimes be shaped by the content they put out. More often than not, this content falls under a public persona and doesn’t directly reflect who that artist truly is at their core. Although the things you see and hear are from that person, it doesn’t encapsulate their humanity. I also think ‘I’m in between worlds’ could tie into this and is detailing the transition into having a wider audience. With newfound success from her career, this period of becoming a public presence may feel as if you’re in between worlds. A second perspective on the lyrics may suggest a commentary on dissociation and identity struggles. Feeling disconnected from the versions of yourself which you present to the public. A lot of these lyrics can read as someone losing sight of themself. Having moments where public persona and personal life get mixed. The struggle of separating the two could result in a loss of sense of self.
DETAILS
TRACK NUMBER: 2
LENGTH: 2:19
TEMPO: 166
KEY: 8A
PRIMARY PRODUCERS: FRANKIE SCOCA, JAKE PORTRAIT, TK THE ARCHITECT
PRIMARY COMPOSERS: FRANKIE SCOCA, JAKE PORTRAIT, IVRIANA WRIGHT, ZACH ZANGHI
NOISE
Noise was the lead single to the EP, and the first release after her debut album. Probably her most chaotic song throughout, there isn’t much downtime on this track. Constantly kept at a fast pace, multiple instrumental layers and effects blend into a cauldron of sound. This intensity isn’t incoherence, but rather an intentional decision to display the meaning behind the lyrics. As confirmed by Ivri, the song’s sentiment is the need to create and the need for that constant distraction to deal with mental baggage. Even during the sections of the song without the dominant guitarwork, minor production points begin to fill the space in efforts to leave no breathing room. These moments make it very difficult to pinpoint a genre to the track; Ivri herself acknowledged this by posting a TikTok saying, ‘I make Rock but make it beep boop‘. This is especially felt in the latter stages of the chorus and during the outro. Picking out individual characteristics during this section is difficult with how the sounds mesh, but above the different guitars and major wall of sound, we get the electronic effect that Ivri references in the TikTok. A few months after release, this particular sound has been the moment from the song that has stuck with me the most, as it’s oddly unique. This continues the EPs trend of creating memorable details within a song which can draw you back to it, or make it stand out.
Lyrically, we get to see the thought process behind the message of ‘NOISE’. The chorus is the most explicit display of this. ‘I desire for creation. I need noise, I need noise’ leaves little to decipher, as the message is clear. Creativity is an essential outlet to many, especially those who struggle. Quite often, beautiful things are born out of mental struggles. The process of needing a distraction and needing to create results in people producing beautiful things unique to them. This song is a display of that. ‘You have already forgotten, You’re too far gone now, Those thoughts aren’t yours anymore’ seem to be the thoughts that sprout when you don’t have that outlet. Not knowing the route you’re taking or how to deal might lead you to try and figure out how to continue. And although it is a stretch, I’d like to think that the lines ‘Is this loss or redirection, it was a womb not a void’ are detailing that transitional period. Trying to detach from your baggage and move forward productively can feel like a loss, but it is also necessary redirection. And this space you now find yourself in does not have to be a void anymore. This space can be treated as a womb, a place for your creative aspirations and ideas to be born.
DETAILS
TRACK NUMBER: 3
LENGTH: 2:43
KEY: 9A
TEMPO: 164
PRIMARY PRODUCERS: TK THE ARCHITECT
PRIMARY COMPOSERS: ZACK ZANGHI, IVRIANA WRIGHT
WHOEVER YOU WANT ME TO BE (NO MORE)
WHOEVER YOU WANT ME TO BE (NO MORE) is the second single from this EP, and is arguably the biggest outlier when it comes to production. Rooted in experimental pop, this track is the potential frontrunner to be accepted by a wider audience. Traces of Hyperpop exist, especially in the post-chorus. We hear pitch distortion, vocal chops, and instrumental stutters. I find this to be a break in the storm between the heavier tracks. The minimalist production throughout the verses makes Ivri’s voice the focal instrument, more akin to her earlier lo-fi releases. The subtle ambience provides a melancholic foundation, although it feels sonically brighter than the other songs on this project. This is also partially due to the gritty production throughout this EP not being present on this track. Even during the chorus, when the guitars are introduced and we get a new drum pattern, it’s still a very rounded sound. The polishing and tones reflect a more gentle approach to her typical Rock aesthetic. As Ivri isn’t the type of artist to be confined by genres, these different approaches are certainly intentional.
The core theme here is identity, but specifically how a person can tend to alter their identity to appease someone else. Forcing yourself to meet certain characteristics to satisfy the other person, even if there is no natural connection. This form of ‘love’ can end up being deceptive to both people within this relationship, and once the facade can’t be kept up any longer, it can all come crashing down. During all of this, you can create a loss of identity, losing who you truly are to the relationship. However, I also believe this song to be self-critical. I think the artist is acknowledging the fact that although the other person has set expectations outside of her means, she’s still acted deceptively. Labelling herself ‘the flower that blooms the obsession’ is directly taking blame for creating this image that has led to mutual obsession. ‘I am the host that will spread the infection’ further adds to this, saying that her decision is the root of what caused this. Reflecting on both sides of the story, the message of the song comes back to the fact that there was nothing else that she could do. At the expense of her own mental health, she attempted to make both sides happy, but the other person’s differing needs and overall ignorance had exhausted all of her options.
DETAILS
TRACK NUMBER: 4
LENGTH: 2:47
KEY: 1A
TEMPO: 150
PRIMARY PRODUCERS: FRANKIE SCOCA, JAKE PORTRAIT, TK THE ARCHITECT
PRIMARY COMPOSERS: FRANKIE SCOCA, JAKE PORTRAIT, TK THE ARCHITECT, IVRIANA WRIGHT
UNRECOGNIZABLE
Initially, the production of this song has a stronger Punk influence. This is a theme throughout the verses, with the guitar riff significantly more grungy than on the neighbouring tracks. When the drums are introduced, this sound is furthered with the consistent backbeat. On the whole, this isn’t a Punk track, but I enjoy these creative decisions as they make the chorus sections stand out. The amplified guitarwork and drums provide a thematic service during the chorus, although not necessarily bringing anything we haven’t already heard. I personally don’t have an issue with this as long as artists bring a more nuanced approach when producing in similar veins. In this instance, this would include vocal chops and stutters, and a heavier electronic influence than seen in the previous songs. Moments of space, such as the second bridge, provide the structure needed for a repetitive chorus. Without it, the chorus may have come across as monotonous. I also believe the heavy vocal layering during the ‘UNRECOGNIZABLE’ refrain was a creative decision that serves a wider purpose, which I will cover in the lyrics. However, for the production side, I love the decision to pair the word unrecognizable with multiple scattered vocal layers. I find it to evoke a sensory response, connecting the word to the sound.
As with many of the lyrics on this EP, Ivri has explicitly stated that this song is pivotal to the lore of her universe. With this in mind, I still think there is a conscious effort to apply other meanings. Continuing the journey with identity issues, I think this song reflects from an opposing angle. It comes across as acknowledging who you are, yet having an envy to change it. Certain lines such as ‘You said I’ve changed, You like the curves around my waist, Even though my body lays, In the pool of my remains’ seem to show the feeling of only being accepted because of your new self. The neglect of who you once were still hurts, as that person will always be a part of you. ‘I killed myself at your expense’ also seems to detail the experience of discarding who you are for others. Being aware of this unfair nature doesn’t waver your desire to change, but instead acts as a constant reminder of not knowing if this is your true self. ‘I blow the candles, And I wish to be, Unrecognizable’ is a line that holds significance to this journey. Birthdays are often a time when people are reminded of who they are, and sometimes face thoughts and feelings regarding their identity. Blowing out the candles could show the feeling of wanting to change every year, but never being truly satisfied with the outcome.
DETAILS
TRACK POSITION: 5
LENGTH: 2:50
KEY: 9A
TEMPO: 112
PRIMARY PRODUCERS: TK THE ARCHITECT
PRIMARY COMPOSERS: IVRIANA WRIGHT, ZACH ZANGHI
THE GOLDEN RECORD
THE GOLDEN RECORD is the closing track of the EP, and one of the strongest moments from Ivri’s career. As one of her most talked-about unreleased tracks, the song had many of her fans with high expectations upon release. Now that it’s here, the track seems to encapsulate the emotion and awe that was already attached to it. From beginning to end, it feels like a tribute to Shoegaze as a genre, an important sound to Ivri and her career so far. Ivri has stated this song is directly about the Golden Records sent into space by NASA in search of extraterrestrial contact. With this in mind, the chord progression gives me multiple feelings related to the concept. Immediately, the setting is vivid. Surrounded by space and all the details that come with it. The feeling portrayed is the beauty of insignificance. Of how grand the universe we live in truly is, and although we are the tiniest speck amongst it, we’re still amongst it nonetheless. Embracing the reality of what and who we are through creativity is so uniquely human, and perhaps one of the most gratifying ways to express a finite life. The heavy nature of the guitar, whether it be distortion or volume, doesn’t come across as aggression. The gentle beauty intended is still felt for me, and the fine margins that could change the foundation of the track were pushed to their limits. The occasional ambience, flushed guitars, processed vocals, and instrumental swells all play into the landscape being painted. Every element of this song is important to one another, and I believe it to be the most cohesive experience she has delivered to date. There is a very evident attention to detail on this specific song, while also making an effort not to clutter it. Additional details like the very brief guitar shreds at the peak of the song add extra character and memorable moments. The bassline, which is prominent at both the opening and closing sections of the song, came from Zachary Kirsimae, who works alongside Ivri as a bassist. He put it forward as something he had been holding onto for a long time. Immediately having a vision for it, Ivri included it in this song, and I find that it’s another beautiful detail to add to an already sentimental track. Within the EP as a whole, this song acts as a fantastic closer, scaling massive heights and pooling in open ambience.
Lyrically, there isn’t as much to dissect, but there are still a few sections to highlight. The straightforward side of the story being told is an otherworldly entity finding the golden records. Despite the beauty of the universe, the scale and emptiness fill a sense of isolation. Ivri is painting the feeling of finding evidence of life outside of your own, and the potential elation that would follow. ‘I found your golden CD, who could you be?’ is said in a way to show wonder and intrigue. I like how that is a naturally human response, and Ivri is injecting that humanity into this unknown entity. Hoping that this character would share her empathy, or the same joy of not being alone in the universe. And as much as this song is about worlds beyond our own, it’s also about human nature and what it means to be alive. The fear of being alone in the universe is an existential one. Applying that same fear to anything else among the stars is a comforting thing and implies that they too hope to find out they aren’t alone. From a different angle, it could also be interpreted as being seen as a person. Being lost within your own mental journey, but having someone reach out to you. Although quite different concepts, the theme of escaping isolation through connection is prominent in both perspectives. To me, the realisation of not being alone is incredibly important. Once that moment comes during the song, it is delivered in such a freeing manner, regardless of the perspective you choose to view it from.
DETAILS
TRACK POSITION: 6
LENGTH 4:16
KEY: 12B
TEMPO: 132
PRIMARY PRODUCERS: TK THE ARCHITECT, ZACHARY KIRSIMAE
PRIMARY COMPOSERS: ZACHARY KIRSIMAE, IVRIANA WRIGHT, ZACH ZANGHI
SUMMARY
OVERALL THOUGHTS
Overall, The Evidence Of You’ is quite a large-scale entry for Ivri despite its short length. It feels like a progression in her sound and artistry, and seems to be a fitting next step after ‘The Theory Of You’ for a smaller project. From a fan’s perspective, the expectation was never for it to be at the same level as the debut album when it comes to the expansiveness and fleshed-out nature of the projects, but more to take the sound in stride and tweak it. In general, it isn’t fair to compare an album to an EP, but hearing some of the sonic similarities and story progression from ‘The Theory Of You’ means it’s necessary to a degree. Ivri has also stated that this isn’t an indication of what’s to come. The creative directions may shift, and this descent into a heavier, grittier sound isn’t guaranteed to continue. I think my personal standouts would be ‘SABOTAGE’ and ‘THE GOLDEN RECORD’, which serve their tracklist placements very well. The only thing I wish I’d gotten from this EP is some slightly longer tracks. SABOTAGE and SPLIT feel a little condensed and are such enjoyable listens that I’d have enjoyed if they were pushed to around 3 minutes. However, in her style, I understand the decision to keep the tracks shorter; there is always a gamble in stretching out high-energy tracks. I think this EP provides what it needed to, especially when it comes to reaching a wider audience and appealing to fans. Having ‘THE GOLDEN RECORD’ be something fans have wanted for so long truly made it feel like a reward to those who follow the artist.
THE GOLDEN RECORD MUSIC VIDEO
VISUALISERS
OTHER PROJECTS
OLDER IVRI PAGES
WHOEVER YOU WANT ME TO BE (NO MORE)
