Soundbite: Sondre Lerche

Sondre Lerche

“Phantom Punch”

ASTRALWERKS RECORDS

Inspired after touring with Elvis Costello, Sondre Lerche abandoned the billowy pleasantry of his first albums, “Faces Down” and “Two Way Monologue,” and the jam-session arrangements of his jazz-influenced last album “Duper Sessions” in favor of the spirit of early Costello. Lerche’s latest release, “Phantom Punch,” is a practice in newfound forcefulness.

Lerche, a Norwegian singer-songwriter, began guitar lessons when he was 8 and wrote his first song by 14. The songs that would comprise his 2002 major-label debut, “Faces Down,” were written when he was 16.

“Phantom Punch” owns up to its name. It is an unexpected but welcome jaunt into simpler but tried-and-true energetic rock songs.

“The Tape” is a frantic dance song with a delightfully catchy chord progression.

“Say It All” begins with Lerche singing to intersecting drumbeats before slipping into wistful overlapping choruses.

The album’s title cut starts with a bass-assisted guitar melody that dominates throughout the song.

Yet opener “Airport Taxi Reception,” a plaintive song about leaving a boyfriend or girlfriend behind at the airport, suffers from Lerche’s crooning, especially during the chorus. The experimental instrumentation between singing redeems the song somewhat, but the song still can’t escape its lounge-like atmosphere.

“Phantom Punch” is not a cohesive album, but its quirks add to its overall charm.

The album reflects Lerche’s obvious talent and, prior albums considered, his growth as a musician. The defects add a personal flair to the songs, as if Lerche is your next-door neighbor musical prodigy who has yet to find his musical voice.