Think of this column as a visit with old friends. The Twins last saw Sondre Lerche in 2003, when the young Norwegian faced off against Blur with his debut album, Faces Down. Iron and Wine (just one guy by the name of Sam Beam, despite the band name) joined us earlier this year, when his The Creek Drank the Cradle took on a lackluster Sarah McLachlan record. Both Lerche and Iron and Wine impressed the Twins last time around, but can they do it again? Well, you'll know within the first two comments.
Rob: Y'know, most of the time I really, really love music. I can't wait to hear new albums, love catching concerts and find myself humming a personal playlist at work. But sometimes I just get sick of the music industry, convinced that there's nothing new and good out there. It's times like that I need musicians like Sondre Lerche and Iron and Wine, who have each graced our column with not just one, but two consecutive albums of quality.
Dan: I agree that both of these artists have been consistent in creating above par albums, but I still think one of them blows the other out of the water. Sondre Lerche's recordings are pleasantly multi-layered to create the rich, loungey sound that has become his trademark. His debut, Faces Down, established the style but was more experimental and quirky than Two Way Monologue. As a result, his second album is more predictable and generally less exciting than its predecessor. It's a solid, but not outstanding record. Meanwhile, Iron and Wine's Sam Beam has really blossomed with his sophomore effort. He is no longer recording the hissy bedroom recordings of The Creek Drank the Cradle and translated his intimate style to the studio without losing any immediacy. In fact, his songs are richer and more beautiful in their newfound crispness.
R: "Blows out of the water" might be a tad strong. After all, I have trouble associating Beam's relaxed, simple roots-rock style with any sort of explosion. I think what you have here are two musicians with very different influences (with Beam leaning toward dust-bowl acoustics while Lerche still seems to want to be a young George Harrison) who both make beautiful music. Neither Lerche nor Beam explores any new territory here -- both Two Way Monologue and Our Endless Numbered Days are romps through familiar territory. But when they sound as good as they do, who cares?
D: At risk of stating the obvious, I think the difference between us is that while you appreciate Iron and Wine, I have a gigantic (and somewhat out-of-character) enthusiasm for him. This isn't music that will rock your socks off, but the beauty of his arrangements is really special. It takes guts to be as subtle as Beam is. For instance, the fragile guitar-picking and warm vocals of "Fever Dream" aren't flashy, but a more complicated arrangement would just water down the emotion. The song's female backing vocals are an example of how Beam has grown without straying from his fundamentals.
R: I certainly enjoy Beam's music, but I listen to a lot of folk and roots, so maybe he seems somewhat less unique to me than Lerche. As soon as I popped in Two Way Monologue, I knew I was in for a treat. Lerche is sort of like Rufus Wainwright, but without the need to be snarky and cool. Sure, Lerche sounds a lot like he did on 2002's Faces Down, but he's only on his second album, so I can deal with that. From the slow burn of "Love You," to the slightly jarring stereo effect in "It's Over," Two Way Monologue makes the most of Lerche's delicate arrangements and the way he effortlessly fades his tenor into a gentle falsetto.
D: Absolutely, Lerche is a talented kid. He sprung out of the womb like a week and a half ago, but already has an impressive body of work. But, with this second record (and I don't want to seem harsh) he just doesn't seem to be trying as hard as he did last time around. Last time, he had tracks like the happy-go-lucky "Modern Nature" that showed a playful and fun sense of experimentation. This time, his record is full of mostly mid-tempo half-ballad, half-rockers. The record isn't as diverse or interesting. Nonetheless, the songs are pleasantly melodic and ornately arranged.
R: Since we're being a bit critical here, I suppose I may as well divulge my only problems with these albums -- and strangely enough, I had the same two issues with both Lerche and Beam. First, they have crafted these beautiful, delicate albums that don't include much in the way of variety, making them somewhat hard to focus on after a while. Second, the airy, gentle music on these albums comes with matching lyrics. While I enjoy both of these CDs tremendously, I have to confess that I'm not exactly sure about what Beam and Lerche are trying to say. A few more songs that told actual stories might have been nice. Bear in mind, though, that neither criticism is a deal breaker. I'll still take Two Way Monologue and Our Endless Numbered Days as they are any day of the week.
D: I'll admit that these are albums that you can lose your train of thought to, especially Iron and Wine. However, I think we can both agree that the musicianship is excellent on both of the albums. Lerche's arrangements are still amusingly retro and I like the way his Norwegian accent affects the way he phrases his English. I hope that my comparison to his debut doesn't make it seem like this is a loser record. The title track is the album's best and definitely the hardest rocking one on the album.
R: I can certainly agree to both Beam's and Lerche's excellence -- which is why I'm going to wuss out on this column and avoid picking a winner. Both of these albums are worth people's time. But hey, at least I can suggest the ideal listening environment for both Two Way Monologue and Our Endless Numbered Days. Try throwing them in your car's CD player if you're ever on a long drive through rural surroundings.
D: Oh, you're no fun. As if I needed to say it, I think Iron and Wine's record is a genuinely awesome record while Lerche's is just "pretty good." Listen to tracks like the strolling "Sodom, South Georgia" and "Each Coming Night" to get a sense of the dreamy folk-pop at which he excels.
