Sondre Lerche - Sondre Lerche reviews
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| Pitchfork |
 The most notable constant in Sondre Lerche's career so far has been change. The restless Norwegian has a wide range of musical curiosities, and in 10 years and seven albums he's covered quite a bit of ground, from the subdued, Nick Drake-inspired folk of Faces Down to the Chet Baker jazz of The Duper Sessions to the harder rock of Phantom Punch. Perhaps his most representative work to date has been the soundtrack to the largely forgotten Steve Carell flick Dan in Real Life, and that's primarily because it shuffles new tracks and scene-setting instrumentals among songs from his previous albums, as if Lerche meant to take stock of his own past. His range is certainly respectable, but also a bit precocious, as if such diversity were an end in itself. So when he self-titles an album-- especially his seventh full-length-- it can't just be out of laziness or lack of creativity.
Whether intentional or not, Sondre Lerche does present something like a defining sound, with all the traits that have threaded throughout his albums over the years: the slightly off-key croon, the meticulous attention to arrangement, the emphasis on melody over all else, the impeccable choice of backing musicians (including Vetiver's Bob Parins on harmonica, Midlake's McKenzie Smith on drums, and Lerche's stepfather-in-law on accordion). There are nods to Brill Building formalism, 1970s singer-songwriter fare, subdued bossa nova, and polite power pop, each integrated studiously into the whole. The result might be called indie AOR: intelligent, tasteful, largely unobtrusive, certainly knowledgeable of pop history. It would surprise exactly no one if he ended up recording with Norah Jones (that's not a slam: say what you will about her music, but she has pretty solid taste in collaborators)....full text |
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| Prefixmag |
| Sondre Lerche took six albums to get to the all-serious self-titled record, so you know this is the one that has to make some money. Less cynically, he got lazy: as he told New York, "I woke up from this dream one day and I had the perfect title, but I couldn't remember it. I'm not going to settle for anything but that title, and if I can't have it, it'll be a self-titled album." Right on. A more subtle attempt than his previous efforts, which experimented with genres like bossa nova, jazz and psych, Sondre Lerche is the singer's first since he moved to Brooklyn from his hometown of Bergen, Norway. Keep that in mind, as he also told New York, "[The record] is, for better or worse, how things feel at this point in my life."...full text |
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