Floating & flitting between every underground venue in the UK on a cult fanbase formed around the heroism of their Bandcamp mixtapes and demos, Sorry’s debut release sees the band step forward with an offering of indispensability. And at a time considered perfect for a dystopian-esque breakthrough album.
The North London post-punk/indie megaliths have turned heads nationwide for their acute approach to gothic, whirring ballads, emotionally dampened indie-rock and catchy takes on modernism. 925 sees Sorry venting playful angst of youth, hinting at relatability and insecurities as intrinsic themes in a commandeering debut. In places, 925 flirts with grunge, trap, and goth-rock, intertwining these elements within their distinct sonic eclecticism to form an album that is nothing short of a masterpiece.
Composed mainly of new material, particular highlights include ‘In Unison’, a toned and twisted call out to end complacency, asking in whispers: “when will you get round to doing what you’re supposed to?”. ‘Rosie’ follows, presenting a reflective, darkened jazz-tainted ballad that pines over a cut-short fever dream love – a firm personal favourite. Diving back for more, ‘Perfect’ continues the album’s persistent romanticism of hedonism and meaning, plucking up an up-beat, guitar-led sensationalization of perfection and adoration. Striking in between the album’s established leading single ‘More’ and ‘Lies’, which see a ghostly and imperative remix of a band cult classic, ‘Ode to Boy’ presents itself as an uncompromising & experimental tale of repression and dependability on the cusp of darkness, featuring triggering synths, angelic vocal harmonies and layered trap-beats.
925 is deserving of plaudits aplenty on the basis of being a gross-genre masterpiece alone; it goes without saying, Sorry are set for all Album of the Year lists for 2020 and beyond.
Photo credit: Sam Hiscox