Phantom Punch
Sondre Lerche
Norwegian songbird Sondre Lerche unleashed his inner tough guy with his fourth studio album Phantom Punch. Although delectable theoretically, Lerche cannot hide that his caged beast is more housecat than wildcat.
“Airport Taxi Reception” is a promising opener, but Lerche’s signature airy vocals are drowned out, while his lyrics lack the quirky sincerity of previous efforts. Phantom Punch’s title track is uneventful, with Lerche ironically growling, “You don’t want to feel the phantom punch.” Unnatural howling and crunchy guitars plague “Face The Blood,” and Lerche ends up sounding more like Green Day than supposed inspiration Elvis Costello.
Within the awkwardness of Phantom Punch, there are glimpses of what Lerche does best. “After All” has a lilting melody and unassuming personality that feels like Two Way Monologues, and the gritty closer “Happy Birthday Girl” exemplifies what Phantom could have been. Nevertheless, these don’t suffice redemption and we don’t want to feel Lerche’s rushed and misguided Phantom Punch.

Friend and Foe
Menomena
Can anyone say no to a Muppet Show allusion? Menomena prove that it’s fundamentally impossible after listening to the groovy pop that saturates the Portland trio’s latest full-length Friend and Foe. The sound achieved is a more danceable Cursive fused with sexy saxophones and vocals reminiscent of a more distorted and breathy John Roderick, of Menomena’s Barsuk label mates The Long Winters.
“Muscle’n Flo” is Friend and Foe’s equivalent of a money shot: staccato drumming, delicate piano and muted coarse guitar melt into a sway-inducing blend of mysterious sweetness. “Boyscout’n” feels fresh, and, if whistling poses a daunting challenge, jealousy of those proficient will overcome you, because the melody is that catchy. Friend and Foe is a seamless expression, worthy of countless replays from start to finish.