Sondre Lerche—Acrobats

I seem to have an affinity for finding some of the most incredible Scandinavian artists, and Sondre Lerche is certainly one of them, hailing from Bergen in Norway.

Normally, I listen to an album and go track by track, taking notes, then listen again before writing the review. This was one of those rare occasions where I felt compelled to down tools and just listen. It was early morning and, fortunately, a nice day, so I decided to take my dog for a walk and just lose myself in the album.

It opens with "How Much Of This Was Planned", and it was another one of those rare moments where the song unfolded and I was like a deer in the headlights, not wanting to move or do anything that might distract me from what was playing through my headphones. There is a sense of drama as the track starts, and I knew it was going to be a bold statement. At almost six minutes, it is quite an introduction to Sondre's music, but have no fear, it's absolutely the right move. This is just an incredible track, with that sense of tension continually rising. It has something of the feeling of "Bohemian Rhapsody", not in musical content, but in confidence and theatre. Pure class.

The next track, "Little Kids", is more melodic and a little less dramatic, but no less enjoyable. I'd been trying to think of an artist Sondre sounded like, and I kept coming back to Al Stewart, who had a huge hit in the 70s with "Year of the Cat". It's a voice with a wonderful tone and clarity, ideal for this style of storytelling and reminiscing. Musically, there's also an element of a soundtrack to it, as though this were playing at the conclusion of a movie.

At first, I thought "Drive Me Away From You" was going to be some kind of cowboy western song, with the shimmering guitar opening the track. But after the first 40 seconds or so, it morphs into a rousing song that you can almost imagine a crowd singing along to. It continues to build and swell before ending suddenly.

Taking things down a notch or two, "Love Is All" opens slowly and feels very intimate. As the song unfolds, it reminded me a lot of Craig Armstrong's "Let's Go Out Tonight", not in overall sound, but in mood, which I think is aided by the ethereal choral accompaniment. This is the first of two epic tracks, and at nearly nine minutes, you'd think it might be stretched pretty thin, but that's certainly not the case. It's a remarkably relaxed track, yet somehow it seems to wash over you effortlessly.

Conversely though, I have to admit, when listening to "Follow The River" on my walk, I think I was halfway through when I thought, "How long is this track?" Not that it was grating, but it just felt long, which is strange as it's only a few seconds longer than the previous track. I think a lot of that has to do with the lyrical structure. The song itself feels at times like a blend of classic 70s disco and a smattering of 90s Euro disco. It reminds me of buying 12" vinyl remixes back in the day. There is a 4 minute single version of this track available, which is definitely more in keeping with a 45, or 7" vinyl for those who don't remember those heady days of vinyl. I really love it, but it definitely feels a little at odds with the rest of the tracks.

After the previous two epic tracks, "Acrobats" is a much simpler song, built around acoustic guitar and vocals. Low in the mix, though, is a bass sound, or perhaps a synth, I think, that just sits there ominously. There is a chorus of sorts where it picks up a little, but then it falls back again.

A little more playful this time, "In The Time Before I Knew Her Well" feels a little like a song from a classic musical, perhaps Pygmalion, or maybe Oliver. It reminded me of another artist recently reviewed by Indie Launchpad, Sparkbird, sharing that same sense of theatre and whimsy.

The album closes with "Life-Changing Love", which has a much more evocative opening. It has a slow, building sense of drama and at times hints at changing direction, but it reins that back in, instead adding a hint of intensity before eventually falling back to earth.

I have to admit, the first two songs had a profound effect on me, and I think they are surely my favourites on the album. That said, there's not a weak track here, and this will surely feature pretty high on Indie Launchpad's year-end list of the top albums of 2026 and certainly one to add to my ever growing vinyl list of albums to add to my collection