Alex Thompson reviews Sorry's latest album, 925.
With their latest release, London quartet Sorry deliver a tight and moody collection of songs, combining their most experimental sounds and production with cool and confident songwriting that sounds slick, dark and irresistible. Riffing on a variety of different genres, Sorry diversify their palette and play with styles and influences to create their most confident and consistent project to date.
From the very first saxophone hit on ‘Right Round The Clock’, it’s clear that the band are pulling no punches. The track’s beat kicks and bounces, piano and bass lines weaving around sax sections, bare bones drum beats and the group’s trademark vocal duets. That’s perhaps the most exciting aspect of the whole album, watching vocalists O’Bryen and Lorenz play off of each other and the instrumentals, creating dark and twisted soundscapes that slink and meander as the tracks progress. Take ‘In Unison’ for example, where arpeggiated guitars play off of sluggish chords and Lorenz’s ‘don’t give a fuck’ vocals. There are flecks of grunge, post-punk and jazz that all find their way into the mix.
‘As The Sun Sets’ is a moody, 90s influenced tune with lyrics of bitterness, frustration and angst. There’s a clear Nirvana influence, combined with a more modern indie sensibility and the group’s distinct swagger and charm. ‘Snakes’ is another dark and gritty indie belter, a weaving guitar melody sitting above a grinding rhythm section and swirling, atmospheric vocals. It’s overwhelming and claustrophobic in the best way possible.
With tracks like ‘Perfect’ Sorry continue to shape this warped and twisted indie-rock formula, rolling drums that accompany the most conventionally indie instrumental on the album. It’s another example of the group taking the blueprint for an indie tune and trampling all over it so it’s still recognisable, but considerably dirtier and grittier. This grit is contrast by tracks like ‘Rosie’, more subdued with its de-tuned guitars and gentler vocals.
‘Starstruck’ sees the band return to their usual electronic influenced indie-rock but soaked in malice and bite, like Jamie T on heroin. Don’t be deceived by the initially indie riff, the track takes a darker turn and takes on a nastier edge, juxtaposed by the almost angelic vocals of the bridge.
Overall, it’s hard not to love the darkness and angst that underpin so many of the tracks on 925. With ironic and bitter lyrics, grungy instrumentals and some more experimental production, this is indie-rock turned on its head. With this inversion comes a great deal of grit and moodiness, unfortunately it also gives the album also has a distinct sense that it thinks it's a lot cooler than it actually is. The swagger and confidence occasionally veer into just plain smug.
For a calling card, 925 is perfect. It sets out the tone, aesthetics and ideas that make Sorry so unique as a band and plays with enough genres and styles to keep it sounding fresh and unique. It’s not perfect, but it doesn’t need to be - this is Sorry planting their flag firmly in the indie scene. They are here to stay.
8/10
Alex Thompson
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