When I spoke with Sondre Lerche, he was on the road somewhere in Missouri between tour dates. I couldn’t help but wonder how this Bergen, Norway native must have been struck by the “Show Me” state’s endlessly repeating fireworks, Jesus, and pornography billboard trifecta. Lerche is currently out in support of new album Phantom Punch, the follow-up to 2006’s Duper Sessions. Recalling the string of identity-shifting records Beck put out after Odelay, Phantom Punch and Duper Sessions find Lerche engaging songwriting’s present and past, respectively. While nowhere near as satisfying as either his impossibly charming debut Faces Down or adventurous sophomore effort Two Way Monologue, each of the new albums has its moments. The title track from Phantom Punch takes a page from Franz Ferdinand with great success, and “(I Wanna) Call it Love” from Duper Sessions is vintage Lerche. With recent sub-par efforts from Badly Drawn Boy and Rufus Wainwright narrowing the list of pure songwriters in their prime, this young and prolific Norweigan is in a position to make a statement that will be heard.

The Daytrotter interview:
Hi Sondre, how’s the tour going?
SL: It’s been exciting. We’re on a travel day somewhere in Missouri right now, I think. We’re about midway through.

Duper Sessions is an album that shows you to be a student of the old masters. The lyrical dexterity of these writers is astounding, and Duper Sessions seems to celebrate that fact. Where do you see yourself in this tradition?
SL: It’s a tradition of music that I’m inspired by, and felt it natural to make a record that went further in that direction. It’s hard for me to include myself with those songwriters… There’s not a lot of songs in that tradition being written today — with nice meloodies and a nice swing. A lot of quartets playing jazz songs today can seem a bit antiseptic — I wanted to resist that kind of clinical polish, and make something intimate and live off the floor — more lo-fi, more indie.

Do you prefer the Billie Holiday version of the Gershwin Tune “Summertime” or the 1965 recording by The Zombies?
SL: I haven’t heard The Zombies version, actually.

(AM: The correct answer is The Zombies version.)

The difference in photography from Duper Sessions to Phantom Punch is striking. Almost a costume change from dapper songsmith to rebel rocker. Is this a conscious choice — one the reaction to the other, or are you simply highlighting the two sides of Sondre Lerche?
SL: Yeah, I suppose the visual style of each record highlights the musical style of each record. People have had the impression the Duper Sessions cover shot was somehow constructed, but it wasn’t. I just had a friend come by to document the sessions as they were happening naturally. I suppose I was more dressed up than usual — somedays I might wear jeans and a t-shirt, somedays I might dress up.

One of my favorite songs of yours is “Modern Nature” from Faces Down, which feature female vocals prominently. We’ve seen less of this from you in subsequent albums — have new songs simply not called for this presence?
SL: You’re right — with the last two records I’ve wanted to keep the arrangement within the band itself whenever possible. It was a conscious choice not to have too many outside elements. I am writing a new song, though — actually it’s finished — that’s going to be a duet.

If you could duet with any female vocalist, who would it be?
SL: Fiona Apple

The title track from Phantom Punch immediately recalls the UK band Franz Ferdinand — are you a fan?
SL: I only know their famous songs, but I really like everything I’ve heard.

Have you been asked this question before?
SL: No, but I’ve seen the comparison in a couple reviews. I can see it — in the way “Phantom Punch” has that kind of angular feel.

With four albums and a few EPs already under your belt, do you anticipate maintaining a prolific output in the vein of your current style of songwrigting or will you withdraw to perhaps plot something radically different?
SL: Well, I’ve got a lot of songs lying around that I want to record. It’s my work, and I’d like to maintain my current tempo. The way the music business imposes album release standards can make artists really lazy — lazy, but while still being a pop star even if there’s a 5-year gap between records.

I hate LA. How did you like working at Sound Factory in Hollywood?
SL: It is strange. When I played a show for the first time, I felt a little out of place — I didn’t really get the city — it’s a different world. However, recording Phantom Punch there and making friends definitely changed my perception. It’s still scary and ridiculous, but I like it more. The last show there was good — I couldn’t live there, but I like it a lot more than I did initially.

“Love You” from “Two Way Monologue” is quite cinematic and climactic with its building layers. Do you have any interest in writing music for films? Is there any recent music written for film you particularly admire?
SL: I would love to work with film. I like Jon Brion’s work, as well as Bernard Herman’s for the old Alfred Hitchcock films. If I did it, it would be completely different than Bernard Herman’s stuff, though.

Do you hold any political affiliations? How do you see the relationship between music & politics? Can we expect a political album from you?
SL: I suppose I’m opinionated, and I wish I could be more political…I certainly admire others who are. It’s just not something I’m doing right now — there’s no excuse… Maybe with the way the world’s going, I’ll have no choice…

What album do find yourself coming back to again & again that you wouldn’t have expected to?
SL: When I was 16 years old, I discovered Hawaii by The High Llamas. It’s a masterpiece. Really influenced by Steely Dan and the Beach Boys, which I had no idea of at the time. I definitely keep coming back to that album.

Has Willy Mason’s cheap red wine drinking rubbed off on you?
SL: I hadn’t noticed — he seems calm and collected. I can’t drink anything before a show. We do a 90-minute set, and it’s just too damaging — too bad on the muscles. I did have two ciders before our show in Eugene, Oregon, though.