Ivan Ave Breaks Down His Favorite Tracks From New Album 'Double Goodbyes'

Norwegian rapper Ivan Ave has dropped off his latest full-length record titled Double Goodbyes, an 11-track gift that furthers his nostalgia-tinged 1990s-inspired rap with heartfelt longing and self-aware reminiscing. There’s plenty of funk-tinged tracks that flawlessly blend jazzy hip-hop with R&B sensibilities too, and Ivan’s storytelling skills are on full display throughout the project’s 35 minute runtime.

For the uninitiated, Ave has been a frequent collaborator of Mndsgn, DâM-FunK and Kaytranada. Once a highlight of the early lo-fi SoundCloud era, his unique ability to blend melodies and craft quick-witted lyricism around smooth instrumentation garnered him fans across the globe. In 2014 Ivan and close collaborator Fredfades created Mutual Intentions, a label that gave Oslo a direct connection to hip-hop that the city hadn’t had before.

He returned earlier this year with “Triple Double Love”, a clever and hilarious hoop dreams homage. Then just last month, the rapper readied the release of his new album with “Phone Won’t Charge”, a song inspired by a time when Ave was cut off from the internet due to his phone not charging.

“Double Goodbyes to me is like an awkward and too long hand shake, at the end of a decade of making rap songs.” the rapper detailed to HYPEBEAST in a statement. “I tried to not make another rap album, and was halfway successful. I like how the record came out different from previous projects, but still feels like a natural addition to my catalogue. I was able to get some things out of my system, both creatively and emotionally, so I feel ready to start making new stuff again soon.”

In honor of his first album release in over two years and the personal growth that followed, Ivan joined HYPEBEAST to breakdown the inspirations behind some of his favorite songs on the record. Watch his new music video for “On The Very Low” (shot during the current quarantine) above. Stream Ivan Ave’s Double Goodbyes below.

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Track 1: “Good”
“The handshake of the album, inspired by a quote that goes something like, “we can’t honestly shake, if you don’t know where my hands have been.” This track is the antithesis of how we all just say, “I’m good,” when bumping into an old buddy. I spent two years making Double Goodbyes, the longest I’ve ever been out of touch with my listeners. As we bump into each other again, I feel they deserve a proper embrace and an honest summary of our time spent apart.”

Track 3: “On The Very Low”
“Half of these lyrics were crafted over a different beat, one that Sasac and I made on a bright Oslo summer night. That song never came out right, but on a cold night in October I picked the words back up and sung them over the music you now hear. The remaining half of the lyrics appeared as if from a hidden pocket in my brain, and this still feels like most intuitive and naively honest message on the record. An attempt to put words to shared history. To that moment you lock eyes with an old lover or relative, where nothing and everything is said. To hope, even when hope is a foolish thing.”

Track 9: “Dooblé’s Shout Outs”
“Lyrically inspired by Jay Dee’s “Shouts (Alt.)”, while musically informed by Jeff Lorber and Azymuth. When Byron laid down this bass line, I was cheesing so hard. I always say, “If you can’t find it in you to write a song, write a list.” So this is a list of people, objects and events I acknowledge as part of my path and present. Shout outs to all of them! Dr. Dooblé is a character I made up, and look up to. He eats ambivalence for breakfast.”

Track 14: “Byyye”
“I built this track around three organ takes Kiefer recorded with me in Culver City, Los Angeles, in May of 2018. It felt right to end the album with the oldest composition of the entire recording process. The month we recorded these organ and Rhodes parts was a dark one for me, maybe my lowest point emotionally in adult life. Since then I’ve built from the ground up, through making this record, among other things. The message here is one that I needed to hear myself, which is true for most of the songs I write.”