Janne Eraker
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Øy​
What happens when you plug a tap dancer in to a computer?
​
Tap Janne Eraker 
​Electronics Kristoffer Lislegaard

​Øy is a duo consisting of tap dancer Janne Eraker and electronic musician Kristoffer Lislegaard. The sound from Eraker's tap dance is sent into the electronics and used to modulate different parameters, to trigger sequencers, or as a sound source for processing and sampling. Exactly how the tap sound interacts with the electronics is programmed live on the spot as part of the performance. The result is a two-way communication where they both are reacting to what the other one is contributing. The music is based on improvisations and has its roots in tap dance, jazz music, electronic dance and art music, free improvised music and nordic nu jazz. The focus of their collaboration is to work together as one complex unit or as two completely separate parts, and the changes between these two states bring a wide dynamic variation into their artistic expression. They are also interested in exploring how they can use each other's features to ​augment their own instruments. Tap dance is often limited by having a very defined and narrow sound, and gets a much wider range from the electronics. Electronic instruments on the other hand can often have a cold and robotic quality, but by having the dance as a trigger and modulation source it adapts some human qualities.


Kristoffer Lislegaard​ is a Norwegian electronic composer and performer. He has a bachelor in music technology from the Norwegian university of science and technology and has also studied at the Nordic Institute for Stage and Studio, the Norwegian Academy of Music and the University of Oslo. Lislegaard makes highly evocative electronic music and his biggest passion is focused around pairing his sounds with different collaborators contributing towards a shared vision. This includes composing for contemporary dance, theatre, film, installation, poetry, performance and events. His music invites people into a layered cinematic world of sound that envelops the listener.
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Links
See here for Øy's website, Bandcamp, Spotify and instagram.
​
Interviews

Music Production Podcast episode out now!
Listen here. 
​More info: 
Suitable for ages 8 - 88
Duration: anything from 10 to 60 min.  
Space: 2 x 3 m
People travelling: 2 prs. 


Previously played at: ​
2025
​October 18: Oslo Flermediale, SALT
October 15: CODA festival, Bærum
October 8: Kafé Hærverk, Oslo

August 9: Øyanatt, Goldie, Oslo
June 7: Hausmaniafestivalen, Oslo
​May 9: Vestafor, Rosendal
May 5: Kabaret Zapffe, Scenehuset, Oslo
February 7: Pop-up concert at record shop Tiger and Øy 5 year anniversary Talk show and watch party

2024
November 22: release concert, Black Box teater, Oslo
September 13, Blå Grotte, Fredrikstad
August 2, 3: La Casa Grande, Bogotá, Colombia
August 1: Matik-Matik, Bogotá, Colombia
April 27: Boksenfestivalen, Oslo

2023
November 16: DanseFestival Barents, Hammerfest
November 3: Movements for Listening release concert, Gamle Munch, Oslo
August 27: Studio MAPA, Haarlem
August 26: De oude Senzora-fabriek, IJsselbiennale, Deventer
August 4: release of the single Sikte på 10
July 20: Moldejazz
June 14: Deichman Romsås
June 1: Black Box, Oslo
May 12: Mir, Oslo
April 1: UrbanSoundArt, Fredrikstad

2022
December 9: Rosendal Teater, Trondheim
July 8: Ravnedans, Kristiansand
April 23: GummiLyd #9, Drammen
April 22: Husvarm, Oslo

2021
November 18: Mir, Oslo
October 8, 9, 10: Øy in theater piece Snart
August 25: Oslo Fringe at Salt, Oslo
July 28: Kafé Hærverk, Oslo
June 19: Oslo Teatersenter
April 18: på Lufta, live stream from Mir, Oslo

2020
October 9: live stream concert for Sonic Territories 
​February 8: Underjordisk maraton, Oslo
Reviews
Ether Diver

Album review
"A truly unique collaboration between a tap dancer and a computer musician to create fascinating soundscapes and abstract electronic improvisations."

Vital Weekly
Album review
"Øy’s Live baffles in ways that for example Fenn O’Berg live release can. Or works by Stine Janvin. Or Klara Lewis. Or Lolina, even. There’s a quicksilvery edge to these works, an uncanny slippery shiny surface, beckoning the listener to come close and investigate, only to slither out of focus into a foggy darkness, rumbling and rustling from nooks and crannies in the upper top most regions of forward pushing electronic music. "

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