Sløtface - 'Sorry For The Late Reply' Album Review
Updated: Mar 8
By Cam Cade
High energy pop-punk has become a genre I have a love/hate relationship with. It is effectively my guilty pleasure genre from growing up listening to it. Sløtface is one of those bands make that genre feel less dirty to listen to. The Norwegian pop-punk band return with an energetic, if somewhat repetitive album that tackles environmental issues and mental health, putting the punk back into pop-punk, even if they’ve sadly lost their more overtly feminist focus which was present in their previous album.
Maintaining a similar tone from their previous album, the general sound of this album is where it can sometimes lose itself, with some songs overlapping in sound so much that they can become indiscernible from each other. "S.U.C.C.E.S.S" and "Telepathetic" have the same style but are saved from completely blending too much by the vocal performances from singer Haley Shea and a St. Vincent sounding guitar solo in "Telepathetic".
Not all the songs have that same tone though. "New Year, New Me", is not as fast-paced as other songs on the and it shouldn’t be. Lyrically poignant, discussing the reality of making promises to yourself that you can’t keep. The bouncy tone is a perfect contrast to the sad and introspective lyrics. The conversational style of the lyrics in this song, sometimes overshooting where you would assume the line would end also create this feeling of reality in every word that is sung.
The song "Crying in Amsterdam" seems to be the centrepiece of the album, with a piano reprise as the closing track of the album. This song isn’t my favourite on the album, but it is as fun to listen to as the rest of the album, with a sound reminiscent to Catfish and the Bottlemen. The drums keep the energy for most of the track and are a perfectly viable option to listen to exclusively. This song is a perfect example of the very raw sounding production that appears on the album. Very little is done to the vocals, creating that realistic feeling that I mentioned earlier.
Sløtface is a band I am very excited to see get more coverage. Seeing that coverage come in the weirdest places is just as entertaining, such as getting namedropped in an episode of the Netflix show Sex Education. This album is proof that they are worth keeping an eye on, if only to see how they push pop-punk further from pop and back to punk. With an energetic and fast-paced album like this that very occasionally falls far below it’s best moments, the album is consistently entertaining and politically charged in interesting and sometimes subtle ways.