Text: Bruno Moonbyrd | Translation: dilettante

2009 marks the 10th anniversary of Kings of Convenience. Eirik Glambek Bøe and Erlend Øye are childhood friends from the tender age of ten, and started to make music since sixteen years old. Personality-wise they are poles apart — while Eirik is a gentle soul, Erlend is a quirky joker. After Skog (their first band) transformed into KOC, the duo relocated to the U.K. and released ‘Quiet Is the New Loud’ and ‘Riot on an Empty Street’. Their interpretation of folk acoustic sound is unique crafted; their duet, a genuine sonic conversation. Compare to their contemporary peers such as Badly Drawn Boy and Turin Brakes, KOC remains to establish a music territory of their own.

Not that everything went as smooth as their guitar cords — KOC came to a temporary halt in the past years. It started with Erlend going solo, then forming new band The Whitest Boy Alive. Experimenting with a range of different sounds (from dance to funk), it was clear that Erlend consciously

distanced himself from acoustic. On the other hand, Eirik (whom Erlend complaint to be too focused on studies) went back to home town Bergen to participate in town planning project. Five years later, Erlend moved to Berlin, released two The Whitest Boy Alive albums ‘Dreams’ and ‘Rules’. Some made a conclusion that he would not make his way back to KOC. Eirik, in the mean time, formed Kommode with old Skog bandmate. The reunion of KOC became more and more unlikely. ‘We are very different people and there are a lot of contradictions between us. We are into different hobbies and fought quite a few times in the past years.’ Harsh words aside, Erlend moved back to Bergen again and the two started recording in Norway and Italy. The reunited pair recently released ‘Declaration of Dependence’ — an album that is ‘without percussion or drums, but full of beats’.

The album title is a playful take on words in the usual KOC style. The album, however, is in no way sequel to ‘Quiet is the New Loud’ or ‘Riot on an Empty Street’. They do not take inspiration from former folk icon such as Nick Drake and Simon & Garfunkel, instead finding Stereolab more relevant. (The loops of acoustic cords is a tribute to Stereolab, for example) Keeping to their acoustic sound, KOC has creatively moved forward in their new album. Looking at the press photos of KOC, the pretty boy Eirik is now looking somewhat weary. Perhaps aging is just a fact of life.

Back to ‘Declaration of Dependence’, it is subtle and hushed, yet full of affection. The opening track ’24 – 25’ is simple and a typical KOC melody — although I personally think it is not as memorable as ‘Toxin Girl’. Its single track ‘Boat Behind’ is my personal favourite. The song invites the listener on a boat trip looking at the sea, filled with delightful flow of strings. Bossa Nova style ‘Mrs Cold’ and ‘Me in You’ are jolly even without full instrumental backing. ‘Riot on an Empty Street’ is a familiar name, recalling calm and lonely thoughts. Started composing the track in 2001, it was going to be the title track of the previous album — but it took the duo until now to finish the final version. Erlend is not the lead singer of KOC, but his vocal in ‘Failure’ and ‘I’d Rather Dance with You’ are mesmerizing — rounded and deep, it is the imperfection that makes it unique. ‘The Power of not Knowing’ paints a lonely picture, drawing one into a melancholic mood.

KINGS OF CONVENIENCE
www.kingsofconvenience.com