PRI//’s latest album, Madonna’s Scrapbook, unpicks the illusions we construct from memories, photographs, and the carefully curated fragments of our past. Through dissonant beats, lo-fi textures, and a raw, unfiltered approach, the album doesn’t just explore nostalgia—it questions its reliability. In this interview, PRI// touches on the deceptive nature of images, the masks we wear to function, and the blurred lines between perception and reality. From the influence of Hubert Selby Jr. and Lou Reed to the uncomfortable truths buried within seemingly ordinary lives, PRI// dissects the beauty and horror of human nature with a brutal honesty that’s impossible to ignore.
Welcome to A&R Factory, PRI. Your album, Madonna’s Scrapbook sounds like an intense, fragmented exploration of perception and memory that hints at nostalgia and illusion. What drew you to that concept, and how does it connect to the album’s themes?
I was doing lots of inner work when I was writing the songs. Lots of re-assessing my old memories and questioning my perspectives of them. I think we can hold on to a memory of something quite tightly and not want to let go of it, but maybe that isn’t even accurate.
You’ve spoken about the deceptive nature of old photographs and objects. Was there a specific moment or experience that made you fixate on that idea?
I was looking at old childhood photos and there is the image you see in the photo – a happy smiling child and then what was going on behind the scenes, off camera which could be quite different. I was also thinking about photo shoots where there is a controlling, maybe even abusive atmosphere on the set, but all the audience sees is the photograph without that context. The title itself is a reference to this. Madonna Scrapbook – filled with old pictures of her. What was going on on set? It’s also the idea that fans can create a narrative from old photos, one that maybe doesn’t exist in any other reality than their heads. I’ve definitely done that myself
The album explores figures who could be seen as tragic or ordinary, depending on the perspective. Do you see yourself in any of these characters, or are they more like distant projections?
I hope the characters have a universal quality to the listener
Fake It and The Universal Frown pick apart the masks people wear to function in society. Do you think anyone ever truly drops the act, or are we all performing to some degree?
Ha ha! Well, I think that the more comfortable you are in your skin the less gap there is between the projected self and the real one I suppose? Or maybe the masks are more conscious for some people, maybe they don’t notice they’re doing it. It’s a weird one
There’s a cut-up, collage-like approach to the music itself. Was that a conscious effort to mirror the way memories distort over time?
Yes, I’m glad you got that. It’s like when you take a Polaroid; you have to wait until the photo reveals itself, and then later on, it fades away under natural light
Compared to See No Evil, which leaned into body horror, this album focuses on perception and distortion. Was this a natural evolution for you, or did something shift in your creative process?
The title of the album Madonna Scrapbook is about a literal old book I had
Your sound is deeply DIY, with fragmented beats and lo-fi textures. What draws you to that raw, unpolished aesthetic?
First thought, best thought. I love the emotional authenticity of it. I am drawn to dissonance and the sound of things distorted, almost going wrong. The truth is those moments of nearly fucking up.
You reference writers like Hubert Selby Jr., Mary Gaitskill, and Lou Reed. How do their works filter into your songwriting?
I love how they speak about the darkness of the human soul. It’s so refreshing but also horrible. But there’s a truth in the darkness.
The idea of parasocial relationships—thinking we ‘know’ someone through an image—feels especially relevant now. Have you had moments where you’ve been on the receiving end of that projection?
I really like the idea of that – I think we all think we know someone based on how they look in a photo. We project our own perceptions and prejudices onto a photo, as much as we connect to it
With Madonna’s Scrapbook released, are you already thinking about what comes next, or do you need time to step back before getting stuck into another project?
Yes, I can’t wait to explore more of the sonic boundaries in Deadbeat Dad, we’re releasing a series of remixes of it soon. Stay tuned!
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Madonna Scrapbook is now available to stream on all major platforms via this link. The 28th of February will also see the launch of PRI//’s Deadbeat Dad Maxi single.
Interview by Amelia Vandergast
