Producers: Jorgen Traeen, HP Gundersen, Sondre Lerche.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: Sondre Lerche (vocals, guitar, acoustic guitar, electric guitar, baritone guitar, glockenspiel, bass guitar, percussion, programming, background vocals); Kato Ådland (acoustic guitar, electric guitar, piano, organ, Mellotron, background vocals); Marcus Holdaway (cello); Gabriel Fliflet (accordion); HP Gundersen (piano, Fender Rhodes piano, organ, keyboards, tambourine, background vocals); Ole Ludvig Krüger (piano, drums, shaker); Jorgen Træen (organ, electronics); Julian Berntzen, Leslie Ahern (background vocals).

Audio Mixer: Jorgen Træen.

Recording information: Bedside Studio, Bergen, Norway (08/2002-01/2003); Duper Studio, Bergen, Norway (08/2002-01/2003); Gjoea Studio, Bergen, Norway (08/2002-01/2003); Logen Bar March (08/2002-01/2003).

Photographer: Mick Rock .

Arrangers: HP Gundersen; Andy Robinson; Jorgen Træen; Sondre Lerche.

Sondre Lerche's first album, Faces Down, was bursting with promise. Two Way Monologue fulfills that promise and then some. Right from the beginning of the first song ("Love You" (a brief instrumental that hints at things to come with a sunbursting string arrangement and beautiful chords stacked together like bunches of flowers), it is clear that Lerche has lost some of the tentativeness that made his debut flawed and has blossomed into a pop craftsman of the highest regard. The songs on Two Way Monologue are lyrically mature and sophisticated; the sound of the album is full and arranged perfectly, Lerche effortlessly twists his vocal into falsetto swoops and intimate whispers, and almost every song is worthy of starring on a mix CD made to impress your friends. Songs like the complex "Track You Down" and "Wet Ground" point to a new level of sophistication both in the songwriting and the performance. "Two Way Monologue" is a perfect distillation of Lerche's style and is probably his best song. Starting as an acoustic ballad that shifts into a rollicking pop tune and then into an Astral Weeks-ish ballad and back, it really is an amazing song. Lyrically it is a touch inscrutable, but that is part of his charm as well. What this record has that his debut didn't are the surprises that pop up at regular intervals and add richness to the arrangements: the honking sax on the wonderful "Two Way Monologue," the Beach Boys vocal harmonies throughout, the bongos on "Days That Are Over," the snaky pedal steel on the achingly beautiful "Stupid Memory." This is a record made by people who have a firm grasp on how to construct an album, from Sean O'Hagan and Marcus Holdaway's tasteful string arrangements to HP Gundersen, Andy Robinson, and Jorgen Træen's arrangements to Lerche's stellar production, there is not a weak moment on the album. In fact, if you hear a pop record with better songs, performances, or arrangements in 2004 than Two Way Monologue, then it will have been a great year for music. The record may get lost in the shuffle and noise of the music biz, but if you manage to find it, cherish it because it is a gold record, sales figures be damned. ~ Tim Sendra

Norway's Sondre Lerche was still a precocious teenager when he started recording yet his debut album displayed a mastery of pop classicism. Lerche is heavily influenced by orchestrated 1960s pop from both sides of the Atlantic (echoes of everything from the Beatles to Bacharch can be heard here), but TWO WAY MONOLOGUE never descends into a derivative retro feel. Lerche's gentle, vulnerable voice provides a friendly travel guide through the often-surprising melodic twists and turns of his writing and arrangements. While elegant layers of keyboards and guitars tastefully adorn the tracks, the album never feels overdone; there's a reason for every part, and a place for every note. The occasionally soaring melodies and ambitious production are also balanced by an endearingly homespun quality that permeates TWO WAY MONOLOGUE no matter how involved the sonic setting.