In Review: Sorry - 925
Sorry appear to be a band which can hardly be defined by the various parameters of modern indie rock. The sort of the music they make is razor-sharp and reflective of 2020 living, infused with tales of sex, drugs and rock 'n' roll. Frontwoman Asha Lorenz and guitarist Louis O’Bryen have steadily cultivated their sound, which is irrevocably sexy and dripping with charisma on long-awaited LP 925.
The pair began making music together back in 2017, releasing a selection of mixtape-styled collections of home demos, since garnering a cult following. Taking inspiration from a plethora of genres, Sorry’s style is an amalgamation of trip-hop, 90’s grunge and early trap. Their debut album delivers a set of wildly experimental tracks; opener ‘Right Round The Clock’, a single which was released by the band in late 2019 is both punchy and ominous, with inflections of jazz and lyrical callbacks to Tears for Fears’ ‘Mad World’. ‘Starstruck’, a track which gained the duo lots of attention when it was first unveiled showcases the duo's deadpan delivery-meets-glitchy production aesthetic, with Lorenz and O’Bryen lamenting on “uppers, downers, all around us”. This LP doesn’t shy away from the things which define a generation of twenty-something city-dwellers. From drugs, to hook-up culture, to heartache, to nihilism, 925 is a genre-less rollercoaster of unconventional artistry.
925's mid-point is inhabited by one of the band’s more rock-based tracks, the post-punk exemplar ‘Perfect’. From here, we’re led into a more subdued song that carries a characteristically steady beat and makes reference to the iconic ‘What A Wonderful World’ by Louis Armstrong. As 925 comes to an end, Sorry even deliver an electronic reworking of one of their older tracks, ‘Lies’; it’s abundantly clear that Sorry draw influences from a myriad of artists, styles, and genres, which is perhaps what makes their own sound so unique and quite hard to pin down.
To listen to more Sorry, click here.