We know Norway for its skiing, salmon and as the world’s third largest oil exporter. What we many may not know about the “Land of the Midnight Sun” is that it is home to European pop artist Sondre Lerche. Lerche emerged in 2000 at the age of 19, releasing his first extended play, “You Know So Well.”
Since then, Lerche has grown in popularity all over Europe while extending his jazzy, rock, 60’s pop-influenced tunes over the ocean for our curious ears. In the past 14 years Lerche has released nine albums: his most recent, “Please,” was released Sept. 23. But to understand the expertise of Sondre Lerche’s style, we must return to his first live album, Bootlegs.
Lerche opens Bootlegs with a feel-good, catchy song titled “When the River.” The song speaks to the rebellious, impulsive, carefree days of childhood, love and life. He preaches to the twist and turns of life in the chorus, “Just around the bend and back again/ Just another place to leave without a trace/ just another mile down a dead end dream/ when the river turns I’ll come down with the rain.” The songs flows much like water would, with the chorus enchanting as the smooth bends of the river, and the joy note guitar chords resembling the bumps along the way.
In essence, Lerche draws us in calmly only to prove just why the album is titled Bootlegs. The album is raw in both emotion and quality, the live audience becoming part of the message and lyrics instead of interrupting them. Lerche takes us on a trip through ten tracks, each breaking new ground. Lerche’s voice can be compared to Sinatra’s, yet, just as soon as you think you’ve heard that voice before, he delves into an inflection you know is unique to the Norwegian.
Throughout the album Lerche’s defiant use of his weak falsetto contradicts our expectations. This is exemplified in “Domino,” where it dominates the song. Lerche unites the audience once again in “Go Right Ahead,” a track resembling more of an anthem, with the band singing the chorus right along with him.
There is an extensive use of the high hat cymbal throughout the album, instilling a ruffian attitude. The A-wall chime can be heard in “Phantom Punch,” the most aggressive song on the album. A personal favorite, “Private Caller” echoes of a relationship scorned with clarity.
The young artist once again opens new windows into the music world with this album, proving that as usual, there are no limits in the music industry. Bootlegs inspires us to stray from the norm and explore life free of assimilation, as does “Please.” Unlike a large majority of artists, Lerche has once again proven his track record in creating another innovative and evocative album.
“Bad Law,” the first EP released off of Please draws listeners in with a catchy guitar sound, following Lerche’s initially-delicate crooning. His vocals are the strongest point here, with only the drum beat and sharp guitar rhythm offering support. As the song progresses, the energy reaches several peaks and ties the entire sound together. “When crimes are passionate/can love be seperate?” he pleads, asking us to draw from our own emotional experiences and suggesting the drama of a lost love through the chorus.
The moodiness continues in “Crickets,” which is an atmospheric and dramatic epithet. Lerche’s voice lulls us to sleep but the woven layers of chorus refuses to lose course. “Cut off my hand as I reach for the fire,” Lerche suggests, in a masochistic, yet charming, tone. He describes the uselessness of arguing in a soft yet convincing melody, with an enchanting rhetoric that fans of Lerche will observe in lyrics like “we’re singing a song for the crickets/you look suspicious/I’ve no suspicion/can’t overcome our faults.” Though the takeaway might provide some with a feeling of futility, the optimism of the backbeat encapsulates Lerche’s previous harmonies and meshes in a new startling darkness.
This new album is full of emotion, as it is an ode to the end of eight years of marriage for Lerche. He leaves no boundaries unwielded drawing on our emotions and beliefs, just as Bootlegs did.
