Sondre Lerche Vaular (born 5 September 1982) is a Norwegian singer-songwrit… Read Full Bio ↴Sondre Lerche Vaular (born 5 September 1982) is a Norwegian singer-songwriter and guitarist. His professional career began in 2000 and over the course of the following years, Lerche and his band, the Faces Down, became beloved critical and commercial successes in their homeland. Later, Lerche would attract international praise and recognition, becoming one of the most internationally renowned and popular Norwegian artists. Lerche is known for the various eclectic styles invoked by his music, which often changes radically from album to album.

Born in Bergen, Hordaland, Norway, the young Lerche was heavily influenced by the 80's music emanating from his older siblings' rooms. Compelled by a defining fascination for bands such as a-ha, The Beach Boys, and Prefab Sprout, Lerche began formal guitar instruction at age eight. Not satisfied with the lessons at school, Lerche experimented with original tunes on his own accord, eventually penning his first song, "Locust Girl" at the age of fourteen. While still underage, Lerche held acoustic performances at the club where his sister worked; Lerche was eventually discovered by Norwegian producer Hans-Petter "HP" Gundersen.

While under Gundersen's mentorship, Lerche was exposed to diverse music genres, including psychedelia, 60's pop, and mainstream Brazilian music, broadening his appreciation for eclectic music styles. Around this time Lerche was also introduced to Oslo-based manager Tatiana Penzo, resulting in a recording contract with Virgin Norway. With steadily growing popularity in his home country, he recorded his debut album in 2000. The album's release was postponed until Lerche fulfilled several academic requirements; in the interim, he was named Best New Act at Spellemannprisen (the Norwegian equivalent of the Grammys) and performed locally as a support act for major acts such as Beth Orton.

Officially released in Norway during September of 2001, Lerche's debut album Faces Down was a chart success in Norway. 2002 saw the album's international release, garnering praise from international publications and critics; Rolling Stone placed it in their top 50 albums of 2002. He embarked on subsequent tours in Europe and the United States. Lerche toured with various acts, including a one-in-a-lifetime opportunity to share the stage with his long-time idols, a-ha. A studio/live compilation EP, Don't Be Shallow, was released in 2003. During the same year, he would have the opportunity to tour with another of his musical idols, Elvis Costello, with whom he would tour once more in 2005.

Lerche's second studio album, Two Way Monologue, was released in 2004. The album displayed Lerche's penchant for experimentation with eclectic styles to an even greater extent than his earlier works, its content ranging from upbeat pop songs to mellow, melancholic tunes. In 2006, Lerche released his third studio album, Duper Sessions. A classical jazz album featuring original songs, as well as a cover of the jazz standard "Night and Day", it was recorded by Lerche and the Faces Down, augmented by pianist Erik Halvorsen, at Duper Studios in Bergen, hence its name.

In 2007, Phantom Punch, a rock album with a distinctly more aggressive sound than his earlier works, was released. Lerche and the Faces Down recorded and mixed the album in Los Angeles in April and May 2006, with producer Tony Hoffer. The same year, he composed the musical score for the film Dan in Real Life. Lerche and the Faces Down also made an appearance in the film itself, performing the song "Modern Nature" as a duet with actress Marci Occhino (the actual vocals were performed by Lillian Samdal). Another song of Lerche's, "Dear Laughing Doubters", was featured in the film Dinner for Schmucks; both films starred actor Steve Carell.

In 2009, Sondre Lerche released Heartbeat Radio. 2011 saw the release of his self-titled sixth studio album, Sondre Lerche.

Crickets
Sondre Lerche Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Told off so terribly loud
Cut off my hand as I reached for the fire
Sound sleep so terribly foul
Foresaw the end of an era

We're singing a song for the crickets
We're singing a song for the crickets
You look suspicious

I've no suspicion
Can't deal the dark cards
Can't tame the night hawks
Can't overcome our fall

Out late with all the undead
Kicking myself as we blow through the gates
Murmuring brook in my head
Sweet little nothings, verbatim

We're singing a song for the crickets
We're singing a song for the crickets
You look suspicious
I've no suspicion
Can't deal the dark cards
Can't tame the night hawks
Can't overcome our fall

Say it to yourself in a different voice
Say it to yourself in a different voice
Say it to yourself in a different voice than yours
Say it to yourself in a different voice
Say it to yourself in a different voice
Say it to yourself in a different voice than yours

We're singing a song for the crickets
We're singing a song for the crickets
You look suspicious
I've no suspicion
Can't deal the dark cards
Can't tame the night hawks
Can't overcome our fall

We're singing a song for the crickets
We're singing a song for the crickets

We're singing a song for the crickets

We're singing a song for the crickets
Can't overcome our fall

Overall Meaning

In "Crickets," Sondre Lerche uses vivid imagery to portray feelings of isolation, inadequacy, and fear. The first verse "Told off so terribly loud / Cut off my hand as I reached for the fire" depicts someone being rejected harshly and painfully punished for attempting to reach out. In the second verse "Out late with all the undead / Kicking myself as we blow through the gates / Murmuring brook in my head / Sweet little nothings, verbatim," the loneliness is further accentuated as he spends time with the 'undead' and berates himself as they carelessly pass through the gates. The rest of the lyrics repeat the idea of singing a song for the crickets, creating an image of singing for empty seats, and voices unheard. The repetition of the phrase "Can't overcome our fall" emphasizes the idea that the fall is inevitable and inescapable.

The phrase "you look suspicious, I've no suspicion" stands out, as it contrasts the general tone of fear and distrust. In a way, it reflects the confusion and ambiguity of the entire song's mood. The final verse's instruction to "Say it to yourself in a different voice / Say it to yourself in a different voice than yours" is suggestive of trying to escape from the reality of rejection and loneliness through dissociation, as if trying to disassociate from one's own thoughts by imagining another's point of view.

Line by Line Meaning

Told off so terribly loud
Received severe scolding loudly

Cut off my hand as I reached for the fire
Denied access as I tried to get closer to something that might harm me

Sound sleep so terribly foul
Deep and unpleasant sleep

Foresaw the end of an era
Predicted the end of a significant period of time

We're singing a song for the crickets
Acknowledging the insignificant things in life

You look suspicious
I am suspicious of you

I've no suspicion
I have no reason to be suspicious

Can't deal the dark cards
Unable to handle unpleasant situations

Can't tame the night hawks
Unable to control the wild or unknown

Can't overcome our fall
Unable to prevent our decline

Out late with all the undead
Out at night with those who are not fully alive