In the spirit of predatory predecessors like “Avalanche” and “The Books,” “Sorry” takes a chopped-up approach to pop culture. “Jetplane” transforms Guided By Voices’ choruses, tense tones and breakbeats into a frenzied battle cry: “Stop me!” I’m a sexy monster! » About “Peacebird”, by dusk district With synths and industrial feedback, Lorenz transformed Tony Basil’s flirty one-hit wonder “Mickey” into something even more raunchy. “Love Posture” could be the band’s answer to “Nine Inch Nails” and “Closer,” with Lorenz singing about what lovers do on all fours, bass buzzing. (We shouldn’t overlook the band’s 2022 songs actually Called “Closer,” a slow-burn sentiment with few references to abandoned animals. )

role play Revel in glaring human flaws: the false start of the dramatic piano piece “Magic”; Lorenz’s rasping vocals on the raucous “Today Might Be the Hit”; the way his voice loses and finds rhythm on Elton John’s profane, debt-laden “Candle.” The album is a fusion of influence and imperfection that captures the uncomfortable feeling of holding on to something concrete in a world that stubbornly defers meaning.

Sorry, he hesitated while they were trying to hammer out the details. A line about the reactionary Japanese philosopher and poet Yukio Mishima in “Into the Dark” and a narcotic repetition of a word in “Echoes” threaten to establish “Sorry” as another bunch of Zoomer nihilists dreaming of extinction. But being a Sorry record, a few seconds of dissonant guitar or percussion can still change the mood.

It might be tempting to compare Sorry to American counterparts 100 gecs, an impulsive duo also well-versed in spam and postmodernity. Both groups were keen on blurring cultural hierarchies. As Fisher writes, the pair created art that was both a tribute to and an insult to the 21st century’s “overwhelming sense of finitude and exhaustion.”