The central duo recorded Anywhere But Here in the studio with that crew - Lincoln Barrett, Campbell Baum, and Marco Pini - plus producer Adrian Utley, of Portishead fame, who lends sharper focus to the group’s soupy arrangements. Sorry are spearheaded by childhood friends and dual writing force Asha Lorenz and Louis O’Bryen, but they’ve always been surrounded by an actual band. Each track is its own self-contained world. They continue that pursuit on Anywhere But Here with plenty of fresh flavors - grunge, trip-hop, college radio rock, blistering acoustic ballads - but their songs have become more concrete and fully-formed. They are great at crafting environments and leaving behind the wreckage.
It was exciting to listen to in part because you were never sure exactly where they’d end up next.
Hooks would pop out of nowhere just as quickly as they’d leave, the band would rocket through ideas before they had a chance to finish them. Their songs bled together, slipping in and out of different genres as they tested out new sounds. Through their early mixtapes and on their debut album 925, Sorry emphasized mood. The UK band is in fine form throughout Anywhere But Here. There’s not much in the way of levity to be found on Anywhere But Here, but the overwhelming despair is in itself a kind of joke, a purging of emotions that feels as cathartic as it sounds catchy. That manifests itself in songs which toggle between righteous anger, total despondency, and a blind hopefulness that scans more as naïve wishful thinking. I don’t even want to pretend to know the specifics of what happened, but it’s clear that heartbreak is the name of the game. “I just did what everyone else did, I went a little mad,” the band’s Asha Lorenz slyly noted in some press materials about the past couple years. Sorry’s magnetic and magnificent sophomore album turns the band’s twisted pop-rock gaze onto a singular focus: getting your heart ripped out of your chest. Sadness is around every corner on Anywhere But Here.
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