The live album, titled Bootlegs, was recorded at Hulen in Bergen, Norway, as well as various clubs in Brooklyn, N.Y., during Lerche’s latest tour in support of his 2011, self-titled album.

Lerche is also releasing his first four albums – Faces Down, Two Way Monologue, Duper Sessions and Phantom Punch – on vinyl for the first time ever via Mona Records. The four albums will come with bonus tracks and outtakes.

Bootlegs and the vinyl albums are due out Sept. 4.

Lerche, who now calls Brooklyn home, will launch the fall tour at New York City’s Bowery Ballroom the following day. The last show of the outing is Sept. 29 in Austin, Texas, at Stubb’s Bar-B-Q.

Along the way, stops are scheduled in Philadelphia (Sept. 10); Chicago (Sept. 14); San Francisco (Sept. 20); West Hollywood, Calif. (Sept. 22); Albuquerque, N.M. (Sept. 26) and Dallas (Sept. 27).

Tickets are on sale now.

Lerche is so excited about Bootlegs that he’s penned the lengthy statement below to tell fans all about it:
“For 12 years I’ve had to endure the constant disappointment of hearing professional multi-track live recordings of my shows. Recordings that appeared to have little or nothing to do with the experience I enjoy so much up on stage. No matter how professional recorded, mixed and treated – live recordings seemed chronically incapable of doing justice to the chaotic intensity of simply being there.

“This was the first time I had actually felt excited upon hearing a recording of one of my shows. For once the recording felt more inspired than the actual performance had felt at the time. Only now do I realize that it’s raw as f**k. Completely out of balance. There’s no separation, only two tracks: one is the board, the other is the room. The crowd is enthusiastic but easily distracted and rowdy; it’s a Saturday night in Norway. This is as close to the feeling of actually being up on stage as I’ll ever get on a record.

“I wanted you to be able to hear me and the band this way (mistakes and all) rather than through some glorified live rendition that sounds more like an uninspired studio recording with extended applauses [sic] and drums that sound like plastic. I wanted you to hear us when we didn’t know you were listening. It would appear that’s the best way to get it right. Once you know you’re being recorded, the show is over.”

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