Sorry – 925

A record that delivers in more ways than one...

Being way more than a guitar band, DIY influencers Sorry deliver rare goods on ‘925’, and their debut album is by no means straight-forward.

Previously forming and playing together under the name Fish about four years ago, Asha Lorenz and Louis O’Bryen front the London based outfit. Their ongoing loyalty to the grassroots scene is ongoing and leaves a strong mark on this record, as they make full use of the opportunity to deliver a genre-bending project.

An authentic and contemporary guitar sound, ‘925’ is a snappy and raw blend that bounces the listener into the more unexpected edges of the imagination. While Sorry’s reference points seem to derive from the 90s punk-rock and grunge movement, this is not about delivering a bland copy of it. They understand how to own their sound and manage to create something fascinating with it, a dreamscape where the idyllic and hellish interact, and the question of what is real and what isn’t, becomes inevitable.

The eclectic opening track ‘Right Round The Clock’ resembles some of Depeche Mode’s best material. With much sonic complexity, the beats operate at the heavier end of the spectrum and uneven saxophone bites are sprinkled across. At the second half of the track, the sound changes, it becomes rougher and more PIXIES-like.

Dark lyrics and mellow textures are tackled throughout. The second song ‘In Unison’ opens with the declaration “Everybody dreams alone, on their own, in unison. They fall asleep and drop like flies. And makes ends meat. And it makes me cry”, whereas, the claustrophobic, erotic sound as heard on ‘Snakes’ is surprising and daring.

The opening guitar line on ‘Starstruck’ offers a memorable hook, and Lorenz’s more lowkey are vocals are effective and exemplify how less very often is more. The interplay between a range of styles is a recurring feature in Sorry’s universe. ‘Rosie’ projects a Sonic Youth vibe where fuzzy, surreal soundscapes create attractive strangeness. But then something different unfolds on the Pavement-inspired ‘Perfect’ where bubbly and upbeat vibes suddenly demand our full attention.

Elsewhere, ‘As The Sun Sets’ is a tranquil, quiet encounter where soothing guitar lines give a warm summer day feel. But a contrast occurs in the shape of ‘Rock ‘N’ Roll Star’, a diverse track where weird but wonderful sounds come together. The concoction makes the PJ Harvey-like track feel addictive and propulsive before the pace is brought back up with the explosive, grunge-rock vibes of the song ‘More’.

Sorry’s eclectic journey has kicked off, and by the look of things, it should be an interesting and absorbing one…


Words: Susan Hansen

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