Sorry – Anywhere But Here

A superb return from the multi-faceted group...

North London genre-bending band Sorry emerged with their debut full length in 2020, ‘925’. The record followed the slew of mixtapes and singles that had garnered the quintet a devoted following, as well as an extensive catalogue of critical acclaim and rave reviews.

Now, Sorry have returned with their sophomore LP, ‘Anywhere But Here’. Sorry are a band who rarely stick to one lane. While their sound is distinctive they never settle for one style or genre, instead they take inspiration from a myriad of sounds which culminates in a incredibly diverse palette of music. ‘Anywhere But Here’ is a record that journeys through indie, noise rock, post punk, lo-fi and even electronica, delivering an exceptional second full length effort.

Much of the record revolves around delicate chord progressions and jagged guitars. Opener ‘Let the Lights On’ is a noisy indie rock cut teetering on the edge of the 90s American guitar sound, juxtaposed by Asha Lorenz’s stunning yet soft vocal work. The touches of harmonies and 80s tom fills creates an ever-changing sonic landscape atop of the driving guitars and drums. ‘Key To The City’, is an intimate track about love. The lyrics are pumped full of bitterness and bile, while also reflecting on how someone can be the way through life – a key to your city. Feedback-laden and atonal guitars drop in and out Lorenz’s vocals get increasingly frantic, bathed in distortion and reverb throughout. The line “I know you’re somewhere out there, getting fucked in someone else’s bed” feels like a shock to the system, the bluntness and direct nature of the line definitely able to resurface negative experiences for the listener.

‘Hem Of The Fray’ climaxes with aggressive, industrial percussion, blended in with crunchy chorus-soaked guitars. Coming in at just over two minutes, Sorry squeeze in everything that makes them Sorry. Gently driving drums and bass with some surprising but welcomed electronica; it really is a sonic match made in heaven. ‘Closer’ sounds almost Midwest-emo inspired with its twinkly guitar riffs and lo-fi vocals, with lyrics like ‘closer to being empty, closer to being used’ touching on themes of relationships and mental health. The track is essentially a long crescendo. Distorted guitars slowly creep their way in throughout, and ‘Closer’ rounds off with a noisy jam-type outro.

‘Anywhere But Here’ is the ideal sophomore record. It is a step up from the debut and expands and builds upon the sounds Sorry have given in the past. So much of ‘Anywhere But Here’ could be the soundtrack to a 90s indie movie, but the tracks stay in their own world; there is no drowning in influence here. Fuelled by rapturous and disjointed guitar work and bittersweet lyricism, this record will easily be in the running for one of the best records out of the UK this year.


Words: James Mellen

Join the Clash mailing list for up to the minute music, fashion and film news.