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Album Review // SORRY ‘925’

London quartet Sorry are not afraid to experiment on their quest to explore what is real and what is make believe in their dazzling debut album 925.

Sorry 925

It’s never an easy task to experiment with sonics while gearing up for the day of a debut album release. No matter how exciting and achieving it is for an artist, it will forever be that one album the rest of their work will be compared to. At least Sorry will have nothing negative to worry about in the future as their first album attempt, 925, is a record which will undoubtedly cement their status as true originals and cross-genre innovators in this decade.

The North Londoners took a different path than what most alternative pop rock bands took. They didn’t start by releasing standalone singles or EPs. Instead, they uploaded self recorded mixtapes, putting together and sharing their demos and rough initial ideas. 925 is an album that strikingly blends suggestions from pop, indie rock, jazz, grunge, electronic and an occasional country twist. If there’s one artist we could possibly compare them to, it would be Billie Eilish purely because of their passion for experimentation, doing the odd and living by the motto of being ‘too cool to care’.

With an infectious piano and sax based groove, album opener Right Round The Clock finds the group going after the wrong person like every teenager typically would, “‘Cause she runs circles all around you / You don’t even have a clue / What’s the lowest thing of all / Is she’ll never even know just how you feel.” Starstruck is a mesmerising single, mixing an earworm bassline and gauzy guitar riffs with Asha Lorenz’s sarcastically disgusting ‘ughhhhhhhh’s’ thriving behind the chorus.

The 43 minute long album features refix versions of the previous mixtapes that date back to almost three years ago, such as Snakes, Ode To Boy and Lies. With a dangerously catchy bass line and guitar work, Rock ‘n’ Roll Star is a wacky unshakable classic rock single that could easily be included in a western movie soundtrack – especially in a scene where the main character walks into a bar. Elsewhere on the record, In Unison adds a more poignant note to the album with Lorenz and Louis O’Bryen heavenly crooning “Everybody dreams alone and it makes me cry”; heavenly vocals that also continue on ethereally mysterious Rosie.

That occasional country twist we mentioned earlier evidently kicks in on Heather. The woozy tune seems rather minimalistic and simplistic on the first listen, but give it another go and you’ll realise the more you listen to it the more instruments and elements the track unveils. Another example of a surprising twist is Wolf – a rather atmospherically dark first half of the track led by an infectious guitar and wolf howls and barks in the background. The other half? The definition of a beautiful synchronised chaos. The anthemic sonic goes from rapid to slow, commanding to relaxing, singing to whispering, constantly keeping you on your toes guessing what’s the next second going to sound like. Two minutes in and the sonic turns to an unexpected electro drop beat.

Whilst 925 might not be the right sound for everyone, it’s undoubtedly a remarkable attempt by Sorry to fully experiment with their sonics without a noticeable limit. We’ll give it to them for following their instincts instead of any existing paths or mainstream trends. It’s the soundtrack of a lucid dream that perfectly captures every millennial’s inner thoughts and successfully blends in a variety of styles that give rise to what seems as a dazzling, unique debut album.