REVIEW: SORRY – ‘Anywhere But Here’

North Londoners Sorry present their sophomore record ‘Anywhere but here’, a bleak tour of home life with a smattering of oddness and a pinch of discordance; it’s a concoction of intrigue and wonder.

The album begins with ‘Let The Lights On’ an alt pop opener that contains industrial clanging and dirty bass driving the track forward. It’s pop chorus eludes a more radio friendly direction in contrast to their debut . The bolshy 3 minute single talks of deep longing for love and the desperate need for this love to be requited “I wanna feel that you need me too”.

‘Tell Me’ is a moody 90s grunge laden piece; a slight alteration from the lead single, with its thick bass and shrilled guitar riff building the foundations to a solid track.

‘Key To The City’ continues the faultless start, it’s voyeur depiction of a jealous individual sneeringly looking at the one they adore “getting fucked in someone else’s bed” with their “arm around you at the cinema”. Sorry give a nod to Cat Stevens’ ‘Wild World’ with the same vocal pattern for the chorus “go make a lot rich friends out there bet a lot of those rich friends turn bad out there”. ‘Key To The City’s’ flat instrumentation is a deliberate choice to convey the emotion of a defeated protagonist.

The toe tapping folk immediacy of ‘Willow Tree’ is misdirection by Sorry. A twisted yet pleasant almost spoken word track with its simplistic instrumentation creating a child like world. “Come carve in your name with me” this speaks of the of innocence of young infatuation.

‘There’s So Many People That Want To Be Loved’ follows next in the track listing and is a Ronsil does what it says on tin track. A reserved ode to the misfits in society that desire affection but can’t find a romantic partner “but you won’t lay a finger on another one” Asha Lorenz speaks of “odd socks”, walking dogs in graveyards and “barking up walls” in nightclubs. The folk acoustic guitar serves as a perfect accompaniment to this semi serious semi pisstake observation of modern society.

‘Step’ continues the exploration of love this time through a morose lense “waiting for the ground to slip and kill me”. Swirling orchestral instrumentation percolates imagery of being engulfed in dinginess. Lorenz speaks of escaping reality and pursuing love in her mind “I built a song for me and you to live in”

The impact Portishead’s Adrian Utley production on this record is clear to see, a dark dirge placed at the heart. ‘Closer’ is this notion illustrated with the lugubrious and depressingly bleak outlook with the repeated motif of death and the relentless matching of time. “closer to cancer” “closer to keel”.

Sorry retain the weirdness that captured the the hearts of fans in 2020 with their debut release ‘925’, with this follow up they have switched up the pace and tone with more layered and textured tracks that contain greater radio appeal. Sorry have created a rich collection of ominous and unsettling tracks on ‘Anywhere But Here’. The album is the soundtrack of a gritty and brutal fairy tale of love in the delves of squalor.


Key Track: ‘Willow Tree’

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