NRVS LVRS by Peter Prato(photo: Peter Prato)

San Francisco’s NRVS LVRS have been a Bay Area fixture 2014. On their latest album, Electric Dread, the duo skillfully plays with intersections between hard rock, haunting vocals, and sound engineering. The album’s composition is surprising and engaging — it’s the type of music you want to play more than once.

Electric Dread comes out today, June 30, on Hz Castle Records. To celebrate the release, they play Bottom of the Hill tonight. In advance of the show, we caught up with NRVS LVRS to ask them about the influences and processes behind their latest release.

The Bay Bridged: One thing that struck me about Electric Dread is the great variety of sounds it has. How did you compose the album?

Andrew Gomez: We’re big fans of old sampling keyboards and the way they can manipulate sound. Almost every song starts with a new sample or keyboard sound that inspires us, and then we’ll fill it out with other keyboards, guitar lines, and drum loops. We have a home studio that has managed to record the sounds we’re hearing to our satisfaction, so we do most everything at home. We took the songs, which were 80% done and finished them off by recording primarily drums, bass, and vocals at Jackpot! Studios in Portland with Larry Crane.

TBB: How did the making of this album compare to your previous work?

Bevin Fernandez: We made this album with a much clearer vision of what we wanted our sound to be. I’m proud of all of the songs on our first album, but when thinking about where we wanted to go on the next, we felt like “Cordoba Grey” was the jumping-off point for our next record. We knew we wanted songs to head more in that direction and beyond.

AG: I think us veering deeper into electronic territory is just a product of becoming more comfortable with sequencing, sampling, and programming. I grew up playing in garage bands, so that’s where my comfort zone has been most of my musical life. When I finally worked up the nerve to dive into instrumentation that is usually associated with electronic music, there was a learning curve I had to go through, and this record is a result of feeling a bit more confident working on these machines.