The Whitest Boy Alive
Rules

Erlend Oye describes his new band as purveyors of 'minimalist pop' - but considering that that description could also be tailored to fit his day-job in Kings of Convenience, a huge experimental leap wasn't really expected for The Whitest Boy Alive's debut album.

Of course, Oye is no stranger to career diversions; he was the voice of several tracks on Royksopp's first album, has released a solo album (2003's 'Unrest'), and has worked on or with a tonne of musicians over the last decade, even though he's remained best-known for his Kings of Convenience role. Perhaps that's unlikely to change with 'Rules', but it does show another facet of the Norwegian, both as a musician and a songwriter.

'Rules' is a gorgeous little album that sounds like the product of Oye's complete immersion in funk; so many tracks here are led by warm, shoulder-shifting basslines that wouldn't sound out of place on a '70s detective show. There are irregular blitzes of electronica, chilled-out dance beats, slinky pop grooves and disco, too - but nothing's overbearing at any point and allows the listener to soak up a multitude of styles in a clever - and yes, minimalist manner.

Highlights include 'Keep a Secret', 'Timebomb' and the deliciously repetitive electro-fest 'Island', but really, there's not a single stinker on 'Rules'. It's a consistent, neat, nifty album of all-encompassing indie-pop, and a perfect candidate for the soundtrack to the summer.

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