Music Reviews

“A Dark And Brooding Set of Tracks”- Album Review: Anywhere But Here By Sorry

Holly Lizzie Wilson

After a successful debut ‘925’, with their track Starstruck featuring heavily on lists of best 2020 releases, Sorry are back for more with their decidedly darker sophomore album ‘Anywhere But Here’, which was released 7 Oct 2022. Holly Lizzie Wilson reviews.

In the wake of their explosive debut in 2020, Sorry’s second album, ‘Anywhere But Here’, was one of my most anticipated albums of the year. The north London based band have made an impressive name for themselves with their grungy guitar riffs and combination of 90s alt and hip hop influences.

The perfect autumn album, its reflective sadness matching the new cold bite in the air

Stand out tracks here include Key To This City and Again, as well as the lead single Let The Lights On, which bounces into life as the album’s opener. Whilst none of the tracks have the same power as the singles from their previous album, ‘925’, their intensity burns for longer, each track adding to the intensity.

The lead single contrasts with the other stand out tracks, none of which have the same need to be a ‘bop’, playing with the more emotional beats of the grunge genre. Key To This City explores the pain of loss of proximity whilst still living in the same space, its repetitive lyrics and simplistic riff highlighting the intrusive thoughts and spiralling thoughts that feature as the centre of the song.

It is easy to spot the building tension of the album

The album has an aching melancholy to it, with the sweeping guitars that crash against the soft vocals of Asha Lorenz. It is therefore the perfect autumn album, its reflective sadness matching the new cold bite in the air.

When listened to as a complete piece, it is easy to spot the building tension of the album which culminates in the final three tracks, the frustration present in Lorenz’s voice becoming almost desperation, and the heartbreak of the album coming to a head with the final track Again. The lost feeling to the lyricism is emphasised by Lorenz’s gentle trailing vocals, that are matched by the almost Jarvis Cocker-esque voice of Louis O’Bryen in the final three tracks, with the penultimate track Screaming In The Rain pairing the duo with slow, relentless guitar that adds a cinematic feel to the track.

It is clear that Sorry have cemented their musical style with this album, offering a dark and brooding set of tracks that dissect the pains and mental traps of a break up. They really stand out on the scene with their approach to lyricism and their take on the 90s grunge scene that is inspiring so many artists currently.

Holly Lizzie Wilson

Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.

In-article images courtesy of @sorrybanduk via No changes were made to these images.

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