Back in a Heartbeat

By Peter Tran, Guest Writer

Sondre Lerche is known for genre-jumping.  His style varies between folk, alternative, Indie-pop, and even jazz. And it\’s not a bad thing. After releasing his freshman album, “Faces Down”, in 2002, the Bergen native\’s musical status has risen to much deserved esteem, winning the top slots for “Album of the Year” from various publications like as Rolling Stone, Paste, and Filter.  Since the release of the original score to Dan in Real Life (2007), Lerche has been on a two year hiatus. All that changed this September when Sondre returned to the Indie music industry with the release of his album, “Heartbeat Radio” (2009).

“Heartbeat Radio” (2009) marks a near decade reflection of the singer-songwriter\’s career and albums, coming to terms with where he truly lies, stylistically, as an artist.  Sondre\’s knack for genre-jumping is addressed with the opening song “Good Luck”, which seemingly blends all of his musical influences in about five minutes. “Good Luck” returns Sondre to his folksy Indie-Pop roots while simultaneously marinating the track with his recently experimented 80\’s Brit Rock sound, accompanied by his use of strings (mainly cellos and violins), previously used heavily in his sophomore effort “Two Way Monologue”.

Sondre\’s newest album is effective in retaining its retrospective feel, while venturing into slightly newer ground.  This reviewer uses slightly very sparingly.  “Heartbeat Radio” (2009) toys with 70\’s Disco Rock in tracks like “If Only”, one of the weaker songs of the album.  However, the album is redeemed with new Sondre-classics like “Words & Music”, a song that evokes “Modern Nature”, the happy-go-ditty from “Faces Down” (2002) and “Like Lazenby.” which sounds like a melodic and melancholy song from the 50\’s named after George Lazenby, an actor who played James Bond only once, giving us an idea where the tone of the song is headed.

“Heartbeat Radio” (2009) is a milestone to Lerche\’s seven year musical career, revisiting his experimentations with various genres, coming together as a well-thought out album.  The minor pitfall of “Heartbeat Radio” (2009) is that it doesn\’t break any new ground in Sondre\’s musical ventures. New ground like the way “Two Way Monologue” (2004) added a greater accompaniment of strings and chords that were there, yet lacking, in “Faces Down” (2002). Or how “Duper Sessions” (2006) was a fully-fledged stab at jazz, evoking greats like Chet Baker and Cole Porter. Or even how “Phantom Punch” (2007) introduced Sondre\’s listeners to an edgier side of Sondre, summoning The Smiths and Steely Dan.  Though not very overtly experimental at the very least, “Heartbeat Radio” (2009) adds to Sondre\’s musical repertoire and succeeds in topping perhaps one or two of his previous albums, without having to venture in new grounds.