Erlend Øye, the renowned Norwegian musician, is poised to tour Mexico and Europe to commemorate the 20th anniversary of “Dreams,” the debut album by his former band Kings of Convenience. Øye is celebrated for his distinctive mix of musical forms. His journey includes a wide variety of influences and collaborations that lead to a lasting impact on the contemporary music scene.
Øye was born in 1975 in Bergen, Norway. He first sprang to prominence as one half of Kings of Convenience, an award-winning duo who found widespread fame with their elegant acoustic sound. This artistic exploration didn’t end with photography. Øye had worked on Kings of Convenience’s Quiet is the New Loud looking for ideas outside of folk music. He was heavily inspired by the colorful sounds of Brazilian bossa nova. It was under this influence that he composed arguably his most important work with The Whitest Boy Alive. He started this group in Berlin at the beginning of this new millennium.
The Whitest Boy Alive quickly gained recognition for their infectious sound, with their most notable track, “1517,” resonating with audiences worldwide. The band’s innovative blend of pop and electronic influences played a major role in creating a vibrant, original musical landscape. After a triumphant run, The Whitest Boy Alive called it quits in the summer of 2014. Øye looked back on this time, reminiscing, “…The only reason is because nobody else is allowed to play our music. I dunno, I guess not too many bands have come after us and done it a million times better, right. No, it’s not … no it’s not … no, it really still is just The Whitest Boy Alive who can do The Whitest Boy Alive.
With the dissolution of The Whitest Boy Alive, Øye’s development progressed and he kept turning into something new. He had supported different artists and genres, embraced the world of fusion. One of his most thrilling efforts, La Comitiva, is an exploration of the rejuvenated sound of Italian chamber pop. This initiative reflects Øye’s cosmopolitan approach to music, allowing him to connect dots across a continent where national scenes often remain distinct and isolated.
Aside from his musical pursuits, Øye has made other lifestyle choices over the years that have affected his output. He then relocated to Syracuse, Sicily, where he now spends half the year. This charming Italian background serves as the inspiration for his imaginative design work. It contributes to the overwhelming collage of sounds that characterizes his music.
Releasing music as a solo artist, Øye developed an international profile subsequent to his stint in the popular Norwegian band Peachfuzz. This experience only deepened his vibrant, jazz-influenced musical palette. His first solo record, “Unrest,” released on March 31, celebrates that nomad life. It includes 10 tracks made in 10 different cities, each representing the expansive influences that inform his artistry.
His relocation to Berlin at the beginning of the millennium would prove to be a major turning point in Øye’s career. He first encountered the group’s current keyboard player, Daniel Nentwig, in a shared rehearsal space on the historic Karl-Marx-Allee boulevard. There, he too met and musically clicked with drummer Sebastian Maschat. Their musical partnership soon led to the formation of The Whitest Boy Alive. While this band made Øye a full-fledged member of the Berlin music scene’s contagious dynamism.
In reflecting on his experiences, Øye observed how difficult it was for him to get a foot in the door in the U.S. market. “It stopped us from having any success in the US in the beginning,” he remarked. He further elaborated on cultural perceptions regarding race and music: “Because in the US, people are afraid of anything that could be racially connected. Which is ironic because, in many ways, the music is about as white as a Malian square.”
As he prepares for his North American tour, Øye looks back on his long road to this place. He experiences momentous jubilation and profound contemplativeness. He acknowledges the ambition that drove him and his collaborators: “We were two ambitious people who really had a lot of petrol to go places.” That ambition and experimentation has driven his consistently innovative sound and allowed him to stay relevant in a rapidly evolving musical landscape.
Øye’s return to touring along with the re-release of “Dreams” celebrates this timeless song. It spotlights the progression of his sound and artistic vision. He remains committed to pushing boundaries and exploring new sonic territories while maintaining the essence of what defines his work.