Tag: Stavanger Norway

 

Now, over the past few months, I’ve spilled a quite a bit of virtual ink writing about this site’s latest mainstay, Eivind Øygarden, an acclaimed Telemark, Norway-born, Oslo-Norway-based emcee, best known as Ivan Ave. Because Telemark is an area surrounded by rugged, majestic mountains and is best known for its hiking paths and for its folk music heritage, Øygarden is a rather unusual figure made even more unusual in homeland: a Norwegian-born and-based emcee, who rhymes in English. But he’s managed to made a name for himself on the global, underground hip-hop scene.

As a teenager Øygarden and his family relocated to Stavanger, where he gravitated to the city’s prominent hip-hop, breakdance, DJ and graffiti scene. Øygarden took all of those early influences with him when he relocated to New York for a self-imposed residency, in which, he spent time hanging out and collecting records at A-1 Records. Interestingly, it was through his love of hip-hop that he discovered 70s jazz and soul — and sampling as a way to create his own music and sound.

When Øygarden returned to Oslo, he met his earliest collaborator Fredfades. The duo then founded Mutual Intentions, a collective of like-minded friends and a label that became a platform that hadn’t previously existed in Oslo — and it led to work with international producers. In 2014, Ivan Ave signed to Berlin-based Jakarta Records, who released his acclaimed debut, 2016’s Helping Hands and his sophomore album, 2017’s Every Eye.  

The Norwegian emcee and JOVM mainstay’s third full-length album Double Goodbyes is slated for an April 2020 release through Playground Music/Mutual Intentions. And as you may recall, the album which references Seinfield finds the acclaimed emcee leaving the sample-heavy behind sound of his previously released work and moving towards a broader — and at times more soul influenced — sonic palette. The album also marks the first time that Øygarden took up production duties, producing the majority of the album’s material himself.

Recorded last year in Los Angeles and Oslo, and featuring guest spots from Sasac, Bryon The Aquarius, Joyce Wrice, and others, the album was recorded during a period of personal struggle, where the work became both the focus and the therapy. “I needed to start from scratch in my life and rebuild it step by step, the music was part of the healing process.” Additionally, the aesthetics of the Home Shopping Network and late ’80s and early ’90s new age influence some of the album’s material. ‘“It’s easy to mock, due to some of its pompous cheesiness,” Ivan Ave says in press notes. “But as I’m getting older, experiencing life’s ups and downs, the essence of it feels genuine.” (In some way, it shouldn’t be surprising that Ali Shaheed Muhammad once described the acclaimed Norwegian emcee’s work as “deeply therapeutic” on his podcast.)

Double Goodbyes is a product of just making music that moved me, in a phase of my life where I was building from scratch emotionally,” the acclaimed Norwegian emcee explains in press notes. “I found healing in producing and singing these songs, without necessarily putting my usual rappety-rap hat on. But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. So my hip-hop roots shine through once again, in this weird blend of RnB, AOR and synth sounds. Sasac was my main co-creator on the record, along with some dope music friends such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.”

So far, I’ve written about the album’s first three singles  “Triple Double Love,” “Phone Won’t Charge” and “Guest List Etiquette.” And while sonically they’ve all ben silky smooth, slick syntheses of 80s and 90s synth-led R&B and J. Dilla-era hip-hop, the songs themselves reveal a wizened self-awareness that comes from hard-fought personal experience, through narrators, who have come to recognize that they’ve been unintentionally and unwittingly repeating patterns that have made them miserable — and/or unfulfilled. But it ain’t all serious. There’s a playful self-deprecating humor throughout, especially on “Guest List Etiquette.” a track that focuses on a common dilemma for artists across the globe: everyone hitting them up to get on the guest list for their show.

The album’s fourth and latest single the Thundercat-like “Hope/Nope” is a dreamy song centered around a sinuous bass line, shimmering guitars and atmospheric synths and an infectious hook. But unlike the album’s previously released material, the song finds its narrator vacillating between hope and despair. Can one hold onto hope when things seem so bleak, uncertain and dystopian? Ask me again in a few months.

This is the daydreamer’s anthem on the record, part escapism, part war cry. The rap verse came out sweet but dystopian,” Ivan Ave explains in press notes. “Sasac saves the day on the last verse, with a medieval guitar solo that makes me hopeful again. Hope seems to be the most important overarching theme of the album when I listen back to it. I’ve learned to respect cognitive dissonance as a weapon, a survival instinct maybe, in darwinian terms. Double edged sword though.”

 

New Video: Acclaimed Norwegian Emcee Ivan Ave Teams Up with Joyce Wrice on a Soulful and Hilarious New Single

Over the past couple of months, I’ve written a bit about Eivind Øygarden, an acclaimed Telemark, Norway-born, Oslo-Norway-based emcee, best known as Ivan Ave. Øygarden, who grew up in an area surrounded by rugged, majestic mountains, best known for its hiking and hiking literature and for its folk music heritage is a rather unusual figure: a Norwegian-born and-based emcee, who rhymes in English. But despite that, he’s made a mark on the global, underground hip-hop scene. Interestingly, the acclaimed Norwegian emcee can trace much of his influences to his older sister’s R&B collection — in particular, The Fugees, Janet Jackson and Raphael Saadiq.

As a teenager Øygarden and his family relocated to Stavanger, where he gravitated to the city’s prominent hip-hop, breakdance, DJ and graffiti scene. Øygarden took all of those early influences with him when he relocated to New York for a self-imposed residency, in which, he spent time hanging out and collecting records A-1 Records. And through his love of hip-hop, the Norwegian emcee discovered 70s jazz and soul — and sampling as a way to create his own music and sound. 

When Øygarden returned to Oslo, he met his earliest collaborator Fredfades. The duo then founded Mutual Intentions, a collective of like-minded friends and a label that became a platform that hadn’t previously existed in Oslo — and it led to work with international producers. In 2014, Ivan Ave signed to Berlin-based Jakarta Records, who released his acclaimed debut, 2016’s Helping Hands and his sophomore album, 2017’s Every Eye.  

Now, as you may recall the Norwegian emcee’s third full-length Double Goodbyes is slated for an April 24, 2020 release through Playground Music/Mutual Intentions. And the album, which derives its title from a Seinfeld reference, finds the acclaimed emcee leaving the sample-heavy behind sound of his previously released work and moving towards a broader — and at times more soul influenced — sonic palette. The album also marks the first time that Øygarden took up production duties, producing the majority of the album’s material himself. 

Recorded last year in Los Angeles and Oslo, and featuring guest spots from Sasac, Bryon The Aquarius, Joyce Wright and others, the album was recorded during a period of personal struggle, where the work became both the focus and the therapy. “I needed to start from scratch in my life and rebuild it step by step, the music was part of the healing process.” Additionally, the aesthetics of the Home Shopping Network and late ’80s and early ’90s new age influence some of the album’s material. ‘“It’s easy to mock, due to some of its pompous cheesiness”says Ivan.“But as I’m getting older, experiencing life’s ups & downs, the essence of it feels genuine.” (In some way, it shouldn’t be surprising that Ali Shaheed Muhammad once described the acclaimed Norwegian emcee’s work as “deeply therapeutic” on his podcast.)

“Double Goodbyes is a product of just making music that moved me, in a phase of my life where I was building from scratch emotionally,” the acclaimed Norwegian emcee explains in press notes. “I found healing in producing and singing these songs, without necessarily putting my usual rappety-rap hat on. But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. So my hip-hop roots shine through once again, in this weird blend of RnB, AOR and synth sounds. Sasac was my main co-creator on the record, along with some dope music friends such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.”

So far, I’ve written about the first two singles off the album “Triple Double Love,” and “Phone Won’t Charge,” silky smooth and slick syntheses of 80s and 90s synth-led R&B and J. Dilla-era hip-hop while revealing a wizened, self-awareness with narrators, who have come to recognize that they’ve been unintentionally and unwittingly repeating patterns that have made them miserable — or have led to their lives largely being unfulfilled. Double Goodbye’s third and latest single “Guest List Etiquette” continues a run of shimmering Quiet Storm-like hip-hop. Featuring a soulful hook by Joyce Wrice, the Norwegian emcee tells a story of a romantic meet cute on the bus that turns into a hilarious and surreal tale of the countless people who ask him for guest list spots for his shows. And of course, he can never accommodate all the requests that come his way.

Directed by Ivan Ave himself, the recently released video follows Wrice and Øygarden wandering around Oslo, getting on a bus and heading to the studio to record and rehearse and then head to the show. The entire time, they have all kinds of people hitting them up about guest list spots for their next show — guest list spots they likely don’t have anyway. 

“We spent that weekend walking in parks, hiking, working in the studio, and ignoring the outside world. As you can see from the clip, everybody and their actual mother was trying to get on the list for her show,” Øygarden explains in press notes. “And the list only has so many spots. Plus Norway’s best rapper Mest Seff already had his whole entourage on there. So the struggle was real, trying to live a life while coordinating everybody’s wishes. Daniel Yul Kim filmed us during these trying times. I did all the editing, with some help from Jo Vemund Svendsen, and Mats Christian Rude Halvorsen, who made my video for ‘Nu Path.’ Hans Jørgen Wærner on the typography as per usual! I want to give a shout out to my ex-manager, who you can see at the end of the video basically dropping me as a client. The following weekend, she hit me up with a request to be put on the guest list for another party. So yeah, shout outs to her.”

 

Eivind Øygarden is an acclaimed Telemark, Norway-born, Oslo-Norway-based emcee, best known as Ivan Ave. As a Norwegian emcee rhyming in English, who grew up in an area surrounded by rugged, majestic mountains, best known for its hiking literature and folk music heritage than hip-hop — and has made a mark on the global underground hip-hop scene, Øygarden cuts an unusual figure. Interestingly, the acclaimed Norwegian emcee’s musical influences can be traced to his older sisters’ R&B record collection — in particular, The Fugees, Janet Jackson and Raphael Saadiq.

As a teenager, his family relocated to Stavanger, where he gravitated to the city’s prominent hip-hop, breakdance, DJ and graffiti scene. All of those early  Øygarden took those early influences with him when he relocated to New York for a self-imposed residency, in which he spent time hanging out and collecting records at A-1 Records. Naturally, through his love of hip-hop, Ivan Ave discovered 70s jazz and soul — and sampling as a way to create his own music.

When Øygarden returned to Oslo, he met his earlier collaborator Fredfades. The duo founded Mutual Intentions, a collective of like-minded friends and a label that became a platform that hadn’t previously existed in Oslo — and it led to work with international producers. In 2014, Ivan Ave signed to Berlin-based Jakarta Records, who released his acclaimed debut, 2016’s Helping Hands and his sophomore album, 2017’s Every Eye.  

Slated for an April 24, 2020 release through Playground Music/Mutual Intentions, Øygarden’s third full-length album Double Goodbyes, which derives its title from Seinfeld finds the acclaimed emcee leaving the sample-heavy sound of his previously released work and moving towards a broader sonic palette. The album also marks the first time in   Øygarden’s career that he took up production duties, producing the majority of the album’s material himself.

Recorded last year in Los Angeles and Oslo, and featuring guest spots from Sasac, Bryon The Aquarius, Joyce Wright and others, the album was recorded during a period of personal struggle, where the work became both the focus and the therapy. “I needed to start from scratch in my life and rebuild it step by step, the music was part of the healing process.”

Additionally, the aesthetics of the Home Shopping Network and late ’80s and early ’90s new age influence some of the album’s material. ‘“It’s easy to mock, due to some of its pompous cheesiness”says Ivan.“But as I’m getting older, experiencing life’s ups & downs, the essence of it feels genuine.” (In some way, it shouldn’t be surprising that Ali Shaheed Muhammad once described the acclaimed Norwegian emcee’s work as “deeply therapeutic” on his podcast.)

Double Goodbyes is a product of just making music that moved me, in a phase of my life where I was building from scratch emotionally,” the acclaimed Norwegian emcee explains in press notes. “I found healing in producing and singing these songs, without necessarily putting my usual rappety-rap hat on. But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. So my hip-hop roots shine through once again, in this weird blend of RnB, AOR and synth sounds. Sasac was my main co-creator on the record, along with some dope music friends such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.”

Last month, I wrote about  Double Goodbye‘s first single, “Triple Double Love,” a silky smooth and slick synthesis of 80s and 90s synth-led R&B and J. Dilla-era hip-hop and a soulful hook paired with the Norwegian emcee’s dexterous wordplay and playful basketball references.  Centered around twinkling and shimmering synth arpeggios, sinuous bass, thumping beats and an effortlessly soulful hook sung by the Norwegian emcee, the song “Phone Won’t Charge,” Double Goodbye‘s second and latest single continues in a similar vein as its immediate predecessor — and interestingly enough, upon repeated listens the album’s first two singles reveal a wizened, self-awareness: we have a narrator, who’s come to recognize that he’s been unintentionally and unwittingly repeating patterns that have made him miserable — or have led to his life being unfulfilled.

“In the last summer months of recording the album, I spent a couple of weeks with a phone that wouldn’t charge properly. I later identified my charger as the problem,” the acclaimed Norwegian rapper explains in press notes. “Anyway, being cut off from the constant stream of information we now call reality, allowed for this song to emerge. Circular themes in my life became more apparent, as they do every now and again, in cyclical patterns. The trick is to notice them, which I probably wouldn’t have if my phone was working all summer.”

New Video: Acclaimed Norwegian Emcee Ivan Ave Releases a Hilarious Visual for Silky Smooth Album Single “Triple Double Love”

Eivind Øygarden is an acclaimed Telemark, Norway-born, Oslo-Norway-based emcee, best known as Ivan Ave. As a Norwegian emcee rhyming in English, who grew up in an area surrounded by rugged, majestic mountains, best known for its hiking literature and folk music heritage than hip-hop — and has made a mark on the global underground hip-hop scene, Øygarden cuts an unusual figure. Interestingly, the acclaimed Norwegian emcee’s musical influences can be traced to his older sisters’ R&B record collection — in particular, The Fugees, Janet Jackson and Raphael Saadiq. 

As a teenager, his family relocated to Stavanger, where he gravitated to the city’s prominent hip-hop, breakdance, DJ and graffiti scene. All of those early  Øygarden took those early influences with him when he relocated to New York for a self-imposed residency, in which he spent time hanging out and collecting records at A-1 Records. Naturally, through his love of hip-hop, Ivan Ave discovered 70s jazz and soul — and sampling as a way to create his own music. 

When Øygarden returned to Oslo, he met his earlier collaborator Fredfades. The duo founded Mutual Intentions, a collective of like-minded friends and a label that became a platform that hadn’t previously existed in Oslo — and it led to work with international producers. In 2014, Ivan Ave signed to Berlin-based Jakarta Records, who released his acclaimed debut, 2016’s Helping Hands and his sophomore album, 2017’s Every Eye.  

Slated for an April 24, 2020 release through Playground Music/Mutual Intentions, Øygarden’s third full-length album Double Goodbyes, which derives its title from Seinfeld finds the acclaimed emcee leaving the sample-heavy sound of his previously released work and moving towards a broader sonic palette. The album also marks the first time in   Øygarden’s career that he took up production duties, producing the majority of the album’s material himself. 

Recorded last year in Los Angeles and Oslo, and featuring guest spots from Sasac, Bryon The Aquarius, Joyce Wright and others, the album was recorded during a period of personal struggle, where the work became both the focus and the therapy. “I needed to start from scratch in my life and rebuild it step by step, the music was part of the healing process.”

Additionally, the aesthetics of the Home Shopping Network and late ’80s and early ’90s new age influence some of the album’s material. ‘“It’s easy to mock, due to some of its pompous cheesiness”says Ivan.“But as I’m getting older, experiencing life’s ups & downs, the essence of it feels genuine.” (In some way, it shouldn’t be surprising that Ali Shaheed Muhammad once described the acclaimed Norwegian emcee’s work as “deeply therapeutic” on his podcast.) 

“Double Goodbyes is a product of just making music that moved me, in a phase of my life where I was building from scratch emotionally,” the acclaimed Norwegian emcee explains in press notes. “I found healing in producing and singing these songs, without necessarily putting my usual rappety-rap hat on. But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. So my hip-hop roots shine through once again, in this weird blend of RnB, AOR and synth sounds. Sasac was my main co-creator on the record, along with some dope music friends such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.”

“Triple Double Love,” Double Goodbye’s first single is a slick and silky smooth synthesis of 80s and 90s synth R&B and J. Dilla-esque hip-hop and a soulful hook paired with the Norwegian emcee’s playful (and fitting) basketball references and dexterous wordplay. Of course, the recently released video is set around a desperate protagonist, who after seeing an ad on his TV goes to a self-help guru to help him with his life — and play basketball better. 

“My long time collaborator Mohamed Chakiri and I came up with an idea for a short film, where the main character is struggling with duality. He loves dancing and basketball, but has a hard time keeping the two apart,” Øygarden explains in press notes. “When push comes to shove, he uses dancing as a defence mechanism against the pressures of team sports. The song ‘Triple Double Love’ is all about team spirit, and what that really means, both in love and on the art grind. So placing our man in a basketball-centric narrative was a perfect fit. We shot it last summer with a beautiful crew of Oslo homies. To feel the impact of Kobe’s passing now, seeing what an athlete of that magnitude means to people, made the video even more special to me.”

Comprised of founding members Marvin Nygaard (bass) and Vidar Landa (guitar), along with Børild Haughom (vocals) and Espen Kvaløy (drums), the Oslo and Stavanger, Norway-based indie rock quartet Beachheads can trace their origins to when its founding members Nygaard and Landa were members of renowned heavy rock Norwegian band Kverlertak. As the story goes, Beachheads’ founding duo had dreamt of playing anthemic power pop based around fuzzy guitars and a strong sense of melody, along the lines of Husker Du, Teenage Fanclub and others; however, because of their primary project’s busy touring schedule, Beachheads endured as a dream reserved for their limited free time — and not their ideal situation.

Nygaard and Landa recruited the Stavanger, Norway-based duo of Espen Kvaløy, a local metal drummer and  Børild Haughom, a locally-based synth pop singer to record three tracks, which were playlisted by Norwegian and British national radio, much to the surprise of the band, who didn’t have immediate plans for the project, besides maybe recording an album sometime in the future; however, the members of the band discovered that Haughom had a drawer full of lyrics based around his own personal experiences, including the death of his father. And building upon the growing buzz that the Norwegian quartet had been receiving, they went into the studio to record the material, which would comprise their highly-awaited, self-titled, full-length debut, slated for a February 3, 2017 release.

 

“Your Highness,” the Norwegian quartet’s third and latest single off the album is a ragged and anthemic single in which Haughom’s plaintive and achingly earnest vocals are paired with jangling and fuzzy power chords and propulsive drumming — and while drawing from 80s power pop and 90s alt rock, the song lyrically focuses on a relationship that’s somewhat unrequited and full of highly charged, yet unfulfilling emotional games that has the song’s narrator spinning.