Nashville-born, Los Angeles-based singer/songwriter Meg Myers makes her full-length debut with 2015's Sorry. The album comes on the heels of her two well-received EPs, 2013's Daughter in the Choir and 2014's Make a Shadow. As with those releases, Sorry once again finds Myers collaborating with longtime producer Dr. Rosen Rosen. Together, they craft moody, electronic-tinged rock anthems centered on Myers' yearning, passionate vocals. While Myers' distinctive brand of dark pop fits nicely next to contemporaries like Lorde and Florence + the Machine, Sorry also brings to mind the work of alternative rock-era icons like Sinéad O'Connor and Garbage. Included on Sorry is the urgent '90s grunge-influenced single "Lemon Eyes".
Brett Dean is not shy about revealing what his music is ‘about’. Whether inspired by certain individuals (as in Epitaphs), or by an ecological or human disaster (as in his String Quartet No. 1, on the now all too topical plight of refugees), Dean’s works are usually – perhaps invariably – driven by extra-musical narratives. Rather than tease out any innate structural puzzles or tensions, his music typically falls into short little dramatic narratives – no movement on this disc lasts as long as eight minutes, many of them rather less than five. The most obviously successful work here is Quartet No. 2, ‘And once I played Ophelia’, effectively a dramatic scena. Its soprano soloist is no mere extra voice (as in Schoenberg’s Second Quartet) but the leading protagonist. Allison Bell’s genuinely affecting performance is backed by the Doric Quartet’s expressionist scampering and sustained harmonies, the strings occasionally coming to the fore in the manner of a Schumann-style song postlude.