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Erlend Øye & La Comitiva

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Erlend Øye: “I don't really have social anxieties”

To call Erlend Øye a cult hero would be something of an understatement. For those unaware of his decade-spanning, genre-hopping, ever-growing body of work, we shall endeavor to enlighten you, perhaps while you take a long hard look in the mirror.

Norway-born Øye first came to the attention of UK fans as one half of blissed-out folk duo Kings of Convenience; their 2001 debut Quiet is the New Loud was sung softly to us in church cloisters and festival fields some thirteen years ago. “Europe’s answer to Simon and Garfunkel” some cried out – but what came next was far from that.

The sublime Versus was released six months later, an collection of electronic remixes of their debut. A straight up folk star Øye clearly was not. His first solo album Unrest came in 2003, with each of the ten tracks recorded in a different city and with a different producer – an unmanageable feat for anyone with half of Øye’s energy – but another album followed in less than a year with his own edition of the DJ Kicks series, which cemented him as a leviathan of beat wizardry. It was the next Kings of Convenience album Riot on an Empty Street that confirmed the duo’s place as indie icons and single “I’d Rather Dance with You” launched them to mainstream notoriety and top festival spots around the world, which you think would be enough to keep a man busy, but not our Erlend. The Whitest Boy Alive, Øye’s second band, formed with bass player Marchin Oz, dropped their own self-released debut Dreams in 2006 and a follow up three years later, alongside a third Kings of Convenience record.

Øye’s La Prima Estate - an album of pop songs, written by and sung by Øye in Italian – came last year and the Norwegian is now poised to release his next solo album Legao , recorded with Icelandic reggae band Hjálmar. We spoke to him ahead of a sell-out show this week at Islington Assembly Hall in London.

What can the audience expect from the show? Tracks from your new album Legao ? And is that how I say Legao ?

“LEEEGOOOWWW”… so you are spending time on the “A” and the “O”. Well they will get to hear the songs from the new album, which will come out in September. So it will be an exclusive chance to hear the songs, but they will be in a different version than there will be on the album. The album is quite full and this is will be just acoustic instruments, without drums or bass. So more like I’m presenting the song writing. For the sound of the record, you will have to wait until the record comes.

Are you bring any of the guys from Hjálmar to perform with you at the show? Again I don’t know how to say Hjálmar!

Yes one of the guys, one of the guys is from Hjálmar yes. We’ve got a lot of difficult stuff to pronounce (laughs). On this tour of acoustic shows we’ve got Ziggy who is the organ player and piano player of the band and a guy called Victor, a Finnish guy, who plays flute and clarinet.

Oh is he the guy who plays flute on L a Prima Estate ?

“La Prima Estate” there’s a lot of pronunciations here. But yes, he’s the one in the video.

So people will hear an acoustic version of the new album at the show…but have you finished it or are you still mixing and mastering it?

I mean it’s basically done, but we are still nudging you know like the last corners. It’s always like this, the last per cent at the end. But it’s sounding very good.

How do you decide when it’s finished? How do you know?

Well deadlines help but it comes with experience, when you understand, like what it comes down to is you compare the different versions that you have and at some point you understand if you are still improving or if it becomes worse. And of course that takes a lot of time, to be able to judge you have to take a break and then listen back and compare them.

How did you come to work with Hjalmar on this album? Where did you find them?

We met at two festivals on islands. One festival in Holland and one in Norway?

Was that Traena?

Traena, yes . Even more crazy pronunciations… it really is an amazing festival, I think anyone who has the surplus and the adventurism in them to go should really go. The first time I just saw them was at Traena and I really liked what they were doing. But then I saw that we were both playing at this festival in Holland, I asked them before hand if they could play some songs with me because I was just playing by myself, alone acoustic. So we played on the same stage and then we basically in the sound check rehearsed two songs. And since it was so easy to work with them, they were such good musicians, I thought that they would be the right people to record my solo album with.

Were you tempted to move to Reykjavik? You’ve lived in some really cool places and Reykjavik really seems to take the imagination of so many.

Well I’ve been there four times in this last year and I must say I really like it. It is a really good place if you wanted to move somewhere, because it’s very small and very quickly you could meet everybody that you should meet. You find the people that you naturally should meet, easily. For example you could live in London I’m sure, for a life time without understanding really where you should be and what you should do.

Do you mind me asking what brought you to Sicily [Øye currently lives in Siracusa ]? I grew up in the Mediterranean and it’s very different from your previous homes in Bergen and Berlin…

Well it’s just that having experienced wooden houses in Bergen and big city Berlin – which basically was a lot of music and meeting a lot of people – it comes to a time in your life where you’re looking for things like gardens and things that grow and being able to follow the moon cycles and stars. Just all those things that you completely neglect when you live in a big city.

So how’s your Italian now? It sounded pretty great on La Prima Estate .

Ummm it’s improving and I’m also writing another album in Italian. I’m learning the language by learning Italian songs.

Do you have any tips for emigrating? I always wanted to live in Berlin but I didn’t know what to do with my records. Do you take your music equipment with you when you move?

No I generally don’t. I don’t take much with me. I’ve never been much of a collector of CDs or books or anything. For me stuff like spotify was just a god-send. Like “great, music is there.” So I mean the thing about storing things is, that’s what parents should be for but if you don’t have parents close to you that sucks.

But top tips for moving? I mean there are a certain places in the world that are easier than others. Everywhere is a little bit difficult but I mean I think Berlin is quite an easy place to go to. It’s a natural place to go to since there’s many people moving there, it’s easier to move there. Because all these people moving there are also looking for friends. But you go to a place like Siracusa where there’s absolutely no one moving there, you’re the only one who’s moved there and you become more exciting for people.

I bet everyone’s noticed the tall Norwegian man walking around town?

Well it was very easy to meet people . The reason why I moved there is that the first people I went there in 2008 we ran in to so many nice people. And it was like “okay this place seems very nice”. And so I just kept on being friends with those people. People I can get along with, there aren’t so many of them but I found them. That’s all you need. You just need a couple of good friends in the place then you’re set.

Yep, there’s only six people in ‘Friends’ – three guys and three girls that’s all you need.

Even when you’re releasing solo albums, you always find great musicians to work with…. Unrest is a real feat of collaborative achievement. Do you prefer the creative process of bouncing ideas off of other people?

The album I did now in Iceland and the ‘Unrest’ album, there is the thing of bouncing ideas around off people but also bouncing ideas in a different environment. And also it’s very good, back to what we started with, to talk about, deadlines really help. When you’ve organised that you are going somewhere to meet somebody to work on something I mean you obviously sort of get yourself together and come up with something to present.

For example, if I decided to do everything myself and make it on computer programmes and learn how to do everything by myself – which I probably could do – the point is it would just take such a long time to be finished with something or get anywhere, because there’s no deadlines. But once you surround yourself with other people there becomes deadlines, because they can’t just hang out with you forever. You want to get it done and be happy about that. It’s a great way to give yourself an easy frame so that you can work on something, but of course you have to make sure that the ideas are going somewhere.

That makes total sense. I was wondering if it was because you’re a sociable guy.

Sure I am actually . I don’t really have social anxieties. I don’t have that problem.

Do you have a wish list of artists to collaborate with in the future? Your resume of previous collaborators is so strong. I mean Feist and Cornelius. Do you have a hit list?

Well there’s not so many, but I would like to work with vocalists. More like a choir group or songwriters who can also do a lot of singing. To work more on back up singing and stuff like that. So I can do more call and response. Not so much about, I always got collaborators who are about more about production and the instruments and stuff but never really got to work with like a group of vocalists. And also I would really like to work with someone who is English speaking so I can have some help with grammar and diction.

Have you had some Lost in Translation production moments?

No not because of that. It’s just about the fact you can imagine how difficult it was making an album in Italian. I had to use about 10 or 20 consultants about the pronunciation of stuff and how to write correctly. And in English not so much because I am better in English but it still would be great to be surrounded by very good English speakers. Laughs. English speaking choirs get in touch.

I really liked the photo of your and Marcin (Oz – cofounder of Bubbles Records and fellow Whitest Boy Alive member) in the dingy – “The Sicily Office”…

Oh yeah he’s here right now. We’ve just been going through the release plan and you know, how we’re going to do this.

Are you still involved with the day to day running of the label?

Well I mean yes to a certain extent. I don’t do so much of the nitty gritty. But the nitty gritty of a label is to communicate with people, to keep the communication going. But I am definitely involved. It’s very difficult if you leave and if you don’t involve yourself in the release of your music then it’s very hard not to be frustrated because it will mostly likely be done in a way that you are uncomfortable with.

Erlend Øye plays Islington Assembly Hall on 3 April 2014. Legao is released later this year via Bubbles Records.

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ERLEND ØYE & LA COMITIVA

Since the late ’90s, Norwegian singer/songwriter Erlend Øye has been a prolific force of nature, releasing numerous albums, EPs, and singles with his two primary bands, acoustic duo Kings of Convenience, and the more electronic-based The Whitest Boy Alive.

During this time, he relocated to the Sicilian town of Siracusa.

“La Comitiva” is an expression in italian that describes the people that you regularly hang out with. That you might go on trip with, that you go around town with.

Just four friends playing together: Stefano Ortisi, Luigi Orofino, Marco Castello and Erlend. Finally the full lenght album is now available as Pre-Order.

Top Monthly listeners on Spotify: Berlin (DE)  – Milano (IT) – Mexico City (MX) – Barcelona (SP)

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Erlend Øye & la Comitiva  “Paradiso”

directed by: Mike Beech September 25, 2019 MUSIC Erlend Øye: Classical guitar, Vocals Marco Castello: Drums, Trumpet, Vocals Stefano Ortisi: Acoustic “Bass” Guitar, Piano, Vocals, Saxophone Luigi Orofino: Cavaquinho Maaike Van Der Linde: Flute Marlies Van Gangelen: Oboe Romain Bly: French Horn Kobi Arditi: Trombone Thora Sveinsdottir: Viola Antonis Pratsinakis: Cello Mayah Kadish: Violin

Recorded by Antonio Pulli at Saal 3, Funkhaus Berlin Mastered by Norman Nitzsche at Calyx Mix Consultant: Luigi Scialdone Song Written by Erlend Øye Lyric consultant: Andrea Moschella A&R: Marcin Oz Master rights: Bubbles Records Publishing: BMG UK

VIDEO: Directed by Mike Beech Filmed and Edited by Mike Beech Drone: Giovanni Pheromed SAS Additional Boat scene: Stefano Barbagallo Production Manager: Marcin Oz Produced by: Bubbles Records

Actors: Diego Lorenzini, Maite, Martina Capitta, Toto Melita, Seby Tine, Wendy Sinisterra, Lucia Moschella, Andrea Moschella

Thanks to the other extras Thanks to Thomas Nabet and the City of Siracusa

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• Øye, Erlend

Erlend Øye Concert Setlists & Tour Dates

Erlend øye at l’orangerie du botanique, sint-joost-ten-noode / saint-josse-ten-noode, belgium.

• Fence Me In
• Upside Down
• Marco's Theme
• Matrimonio di Ruggiero
• For the Time Being
• Lockdown Blues
• Morning & Afternoon
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Erlend Øye at TOdays Festival 2021

• La prima estate
• Prego amore
• Wedding Song

Erlend Øye at La Roma Records, Mexico City, Mexico

Erlend øye at castello sforzesco, milan, italy.

• Abril's Theme

Erlend Øye at Ex Manifattura Tabacchi, Florence, Italy

Erlend øye at reflektor nils frahm 2019, erlend øye at estéreo picnic 2019, erlend øye at museo la tertulia, santiago de cali, colombia, erlend øye at teatro mayor julio mario santo domingo, bogota, colombia.

• Mina do condomínio

Erlend Øye at Auditorio AFP Integra del MALI, Lima, Peru

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Most played songs

• La prima estate ( 34 )
• Fence Me In ( 30 )
• Garota ( 29 )
• Peng Pong ( 27 )
• Rainman ( 26 )

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Artists covered

Burt Bacharach Luc Baiwir Big Star Marco Castello Nelson Cavaquinho The Cure deLillos Dire Straits Bob Dylan I Giganti Lee Hazlewood Hjálmar Seu Jorge Kakkmaddafakka Kings of Convenience Kompis Javiera Mena Zeca Pagodinho Gino Paoli Pet Shop Boys Phonique Tony Renis Röyksopp The Smiths Star You Star Me Martinho da Vila Wham! The Whitest Boy Alive Tony Williams Neil Young

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241 people have seen Erlend Øye live.

mdisalvia ol_no BETTE_W pierre1211 Jelloulim Bot12345 Onz85 dacondo FuocoDifferente LarsVader estadodenada srfiasco CorinneLuno alemat BackSeatFree tripjopero believeinlove42 clearestblue theyreallspies evapinedo jose_lr luiskarlos74 ivanpl007 Carlzev xphaedrax victorvil astrofelipe Ivnalejandrov cmurzua marianomrn itsjustzoey agus7in bernardita21 doremili Gaspode hugovlnc vitenrique iurimouza lfncastro nathaliafraz diogonns Yasminolie rodlouro Lordsasskicker yasminmedeiros Diegoterzano tururun nekoland stroudyvarious mampezzan

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The run will kick off this October in New York City.

Published on

Kings of Convenience –the Norwegian duo of Eirik Glambeck Boe and Erlend Oyehave–has announced a fall tour of the U.S., marking its first time stateside since 2011.

The dates kick off October 24 with a show at Webster Hall in New York City and conclude in Los Angeles at the Fonda Theatre on November 3. Along the way, the band stops in Washington, DC, Chicago, and San Francisco, among other markets. Tickets are on-sale Wednesday, April 12 at 10am local time.

The band’s latest album, Peace Or Love was released in 2021 to world-wide critical acclaim. Peace Or Love featured singles “Catholic Country” (feat. Feist ), the bossanova inspired “Fever,” and the contemplative “Rocky Trail,” among other fan favorites.

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The band has amassed over a billion streams globally and the 2021 album marked their first album in over a decade. The aforementioned “Fever” features the duo’s chiming guitar melodies beautifully complimented by lilting strings and elegant piano. The song’s lyrics are a testament to their skill as writers, using the fever metaphor as a way of exploring love, both in its highs and its lows.

When the duo unveiled the single, Erland Oyehave said, “‘Fever’ is the song on Peace or Love that was the quickest to write, born from a pure and simple burst of inspiration. The recording and arranging however, was as usual a long process, culminating in Eirik adding the riveting piano outro in the album’s final days of recording in February 2020.

Eirik Glambeck Boe and Erlend Oye met at school in Bergen, Norway and first performed together in the rock band Skog before breaking off and forming a duo in 1998. The pair established themselves as inadvertent trailblazers of a new wave of intimate, acoustic music. They’ve released three critically acclaimed albums, toured all around the world, and cultivated a dedicated fanbase.

Visit Kings of Convenience’s official website for more information.

Kings of Convenience Fall Tour Dates: 10/24 – Webster Hall – New York, NY 10/25 – 9:30 Club – Washington, DC 10/27 – Mr. Smalls Theatre – Pittsburgh, PA 10/28 – The Vic Theatre – Chicago, IL 10/30 – The Neptune Theatre – Seattle, WA 11/1 – The Fillmore – San Francisco, CA 11/3 – The Fonda Theatre – Los Angeles, CA

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Interview: Erlend Øye on Bergen, Dance Music, and His New Album

The master of delicate melodies and sadly humorous songs tells his tale: from kings of convenience to going solo..

Erlend Øye, Bergen’s purveyor of understated bittersweet folk songs, has blazed a quiet trail across the worlds of folk, anti-folk and subtle electronics in no small measure. Setting the bar high alongside school friend Eirik Glambek Bøe, with their first project Kings Of Convenience and their debut LP Quiet Is the New Loud , Erlend Øye has since continued on his upward trajectory, immediately taking off on his own solo material and collaborations. His first solo record Unrest demonstrated Øye’s widescreen vision. After cementing his reputation as a master of dark humour and delicate riffs with Kings’ follow up Riot On An Empty Street , the now Berlin-based Øye formed The Whitest Boy Alive, and embarked on collaborations (with Feist, Cornelius, and Biz Markie) and solo projects, as he traveled the world doing studio sessions, performing live and even playing the odd DJ set.

Now, after producing albums for fellow Bergen band Kakkmaddafakka, and moving to Sicily after buying a house for his mum, Øye has stepped fully into solo mode with his second solo LP Legao , with plenty of Italian lyrics and Mediterranean sunshine. In this excerpt from his recent RBMA Radio interview , Hanna Bächer talked with Øye about the influence of Bergen on his career, as well as his new album.

How did you meet Eirik?

I met him in 1991 at school. That was the same year that both of us ended up learning how to play guitar, but we didn’t really spend so much time together then. Me and Eirik met because we both enjoyed the band Pink Floyd, and there was a music scene in Bergen, around 1993, it started to really happen, like three of the bands in Bergen started doing well.

In general, music was important in Bergen. You don’t think about it, because you just grow up in one city, and you don’t really get to compare it, but music was obviously very important. It’s a rainy town, so there’s not too much to do. We formed a band together with other people, and Eirik was very much into serious music. I liked to have a bit of humor involved, but he forced me into trying to be serious all the time, which caused a total loss in popularity of our band, but it also meant that we spent a lot of time learning about music.

We came back together again and understood that we didn’t need a band.

Bergen is an exciting town, but in the ’90s, there was a music journalist from Oslo that wrote a column saying that Bergen was traditionally the worst rock town in Norway, and there was a huge outcry about this. He was maybe right at that stage, but he was very soon proven wrong because music in Bergen at the end of the ’90s was really starting to happen. This is because there were certain mentors. There were certain people who had really good tastes, and these people had a huge influence on what people did. There was this one guy, Pedro Carmona. He was originally from Chile. He played in many bands. Now he just writes books, but he was my big mentor, and he taught me a lot of things. If it wasn't for him, I probably maybe wouldn’t have developed part of my tastes, which I’m quite happy about.

The big moment for Kings of Convenience was in 1998 after having had a break from the band. We came back together again and understood that we didn’t need a band. It could just be the two of us. We understood that being different was good, and we started to make music that sounded less like other bands in the world at that moment. At this time, I was going back and forth between England and Bergen with another band because I was convinced that in England I would meet people who actually make our band famous.

You went there with Peach Fuzz, right?

Yes. That band sounded, in the end, too much like English and American music. We weren’t enough Norwegian. We didn’t stand out. We were selling sand to the Sahara.

Was it disappointing?

Well, it’s very difficult for a Norwegian to move to London because the quality of houses are so bad, food is so bad, people are so fucking private. In Norway, we very easily invite people into our homes. In England, that never happened. Whatever, you know? That was not a problem for me. I understood that it was going to be different, so I just had to live with it and figure it out.

Eventually, I figured it out. It was very difficult along the way, and it was very difficult to convince Eirik in Kings of Convenience that we might make music our living. We are quite different people, and we bring different things into the band. When we recorded our album and it became a success, suddenly sat himself down and said, “I can’t do this anymore. I can't go on touring.” He just felt like his whole life was taken away from him, like someone else was ruling his life.

I love having this cycle of staying at home, going on tour, going home, and going on tour.

That’s where I started to do my own things, because I realized if I didn’t have my own musical platform I couldn’t live the life that I wanted, and that means traveling around, playing music, seeing the world through music. It’s always been my dream. It still is. I love it. I love touring. I love having this cycle of staying at home, going on tour, going home, and going on tour. You kind of get addicted to this, to go to a place and eat the local food, meet those people, and feel that kind of feeling that the country gives you. Then go onto another place.

That’s why I did a solo album, working with electronic artists, which was a moderate success, and then I did a DJ Kicks installment, which was really fun, and that led me into DJing a lot around, but unfortunately, this DJing was really so difficult for my ears. It’s so hard on the ears. It’s so loud. You have to listen to a song in your headphones while another is playing in the club, and you have to be away until four or five at night, and you wake up at 11:00 AM in the hotel and breakfast is over. It kind of naturally leads to a very unhealthy life. This – and many other things – made me realize that the sort of indie pop audience I had with Kings of Convenience, that kind of music life, led to what's much more desirable than nightlife.

One thing I really like in life is to make people dance.

Also, in general, that part of the music scene is filled with a lot more friendlier people than the electronic music scene. The electronic music scene is filled with amazing people who have a true love for music, but there's also a lot of people who just want to make a quick buck. There’s a lot of bullshit in the dance music, electronic music world.

If you can choose between playing a concert from 9:30 until 11:00 PM or playing a concert from 3:30 until 5:00 AM, it’s pretty obvious that you choose the first one. But I also realized, for me, one thing I really like in life is to make people dance. I love to be the guy that comes into the party and realizes, “Oh, I think everybody wants to dance but they’re just too shy to dance,” and so I started dancing on the dance floor on my own, and people see that I am having a good time, and they see that I make a fool of myself. After they see me dancing around, it feels much safer for them to go there.

Can you talk about your new solo album?

Sure. It was recorded in Reykjavík in a studio that has been around since 1975, but for the last five years, it has been run by the band Hjálmar . They know how to record themselves in the studio, and they’re completely comfortable, so they didn’t need very much time to get warm. Every day, I would just come and present a song. I would sit in my little booth where I had my guitar, microphone, and lyrics, and they were sitting around me in the big room, and we were playing through the songs while recording. Most of the time, we had the song recorded before lunch, or sometimes we had to record it several times to get it right, but it was a very, very good situation, because you could work for four minutes, and you can go into the control room and realize, “Huh, we’re done. We have it.” It was incredibly painless.

By 2 && !$first --> 1 && $last --> Hanna Bächer on September 30, 2014

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• Wednesday May 15, 2024 Erlend Øye and La Comitiva TivoliVredenburg, Utrecht

Wednesday 17 May 2023

Erlend Øye and La Comitiva

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IJpromenade 2 1031 KT Amsterdam, Netherlands www.paradiso.nl

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One half of the acclaimed folk duo 'Kings Of Convenience' who brings to all his songs an optimistic sadness that makes them charming, funny and rich more...

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