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Røyksopp vs Lindbæk


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"Streken my forhold" shouted Royksopp

"Eat sitat and GJORT!" retorted Lindbæk


Seriously, this sounds good. Help us out. Otherwise, it's just you and Impakt chuckling over some lutefisk.


Haha, awesome phrases you have there. I can elaborate when I'm not on my phone. But someone should OCR and google translate the letter from Røyksopp, it's 40 pages long.


Here's the Dagens Næringsliv article from April, siding with Lindbæk:


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Guest MortstoX

Fascinating reading. The original DN article made me believe that Royksopp were arrogant assholes, but if the accusations in this letter is true (it definately seems so), Lindbæk has to be a total nutcase. I notice that the DN-article no longer has the readers comments. Perhaps they realised the blunder quite quick?

Also interesting to see all the creative people in such a small town as Tromsø in the mid 90s. Alania, Those Norwegians, Drum Island. A lot of great music.

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Shitty OCR & Google Translate:



Bergen 20.04.11


DJ and producer Lindbæk has recently made a strong personal attacks against us, Torbjorn Brundtland and Svein Berge. l a 10siders case in Today's Market (DN) (14 March 2011) he accuses us of outright lies and theft. Lindbæk claims also to have made Röyksoppmateriale. And when Lindbæki Bergens Tidende and Bladet Tromso (April 6, 2011) peaks in the last weeks of mud-slinging on to say that we "... systematic lying and manipulating" and that we are "stealing from friends and then lying about it" (DN) he goes far out of line! We hari the longest chosen not to express an opinion on this matter in public - then very much in terms of Lindbæk renomee - but after the recent smear campaign led by Lindbæk even against us in these media, we have unfortunately seen us have to striding out of our selwalgte media seclusion to take to speak out and Lindbæk outrageous claims. Under pressure from friends, associates and affiliates, we choose now to present the merits. We want this letter to explain Lindbæk methods and procedures, as well as highlight - with specific and actual events - how Lindbæk has established its position in the music of Norway. We have also talked with some of the artists who Lindbæk have tried to ally himself with the press - and of course, give the artist an opportunity to control read her own statement given in this note. We also have over the last 9 months on several occasions made Lind Conscious that if he should desire to promote improper claims against us, we strongly refute his claims. We have also conveyed that he would do serious of the threats he made against us, he will for all soak brands definitely frame itself hardest. Lindbæk not take our advice.


Let us begin by linking our torsvarstale to the 10-page issue went to DN 14 March 2011. This is because it is largely the views expressed in this article, we now must disavow - and that the article's subjective representation of the case, has made it an inseparable part of this affair in its entirety. DN delivers at our discretion, a naive, uncritical and sometimes parody article, which Lindbæk appear as victims, and we as "the big bad wolf" - as if we are responsible for Lindbæk situation as described in the article. When Barlindhaug was Spun about musical contribution to "Alanl` a 's second album, "Skyjuice", he wanted only to negotiate with Ole Johan Mjøs - which in 96 had been part of' Alan '|' a ', together with Lindbæk and "It felt as especially jarring to see how Torbjorn was forced to accept that Rune even got his name on pieces of music, where the Rune had not taken part-in fact had not even been present in the same room when they were made by us. I see "I and Torbjorn took over" Drum | s | and "project in its entirety when we moved from Oslo. Rune kept 'Those Norwegians' project. Bergen completed Torbjorn and I" Drum IsIand "album together with Svein and work with subsequent concerts. At these concerts also helped Bjorn Torske and Ole Vegard Skauge on bass. It was also recorded versions of songs like 'So Easy' - unless I therefore would argue that I have made Röyksopp material. Torbjørn and Svein worked He links his participation to a claim: Röyksopp have used a "AIan'ia" Iåt the album "Melody AM". Lindbaek says that Svein (Berge) not found themselves "in the same region" as this song was made, and that Berge will not be credited as a composer. The song Lindbæk referring to the Röyksopp song "40 Years Back / Come." Before we reveal all aspects of the "40 Years Back / Come", we will first deal with another aspect of the case; Lindbæk selective retelling.


In DN chooses words Lindbæk to present this one, and probably the most "objective" - ​​but totally wrong - the email he has submitted to us. Lindbæk fails of course to mention the other emails and The SMS he sent in the same period. These were mainly addressed Brundtland, who were frequently exposed Thu Lindbæk anger. Discontinuous raljering and harassment. Threats, preferably in the lorm of text messages of the type: "Y should sue dæ to him Svein". And they came at all hours. These were the methods and the use of force Brundtland had known of his personal past. We responded Lindbæk that his accusations were insane and that his tirades would cease. But Lindbæk continued. The whole thing escalated to a point where we finally did not answer him. We exchanged phone numbers and even to escape. Lindbæk methods used up. We were touched. For Brundtland's it like to relive the time during Lindbæk in Oslo.


But these The SMS and emails have thus Lindbæk convenience and came "Convenient well under the couch. His terrorizing Brundtland mentioned one. Which is in stark contrast to Lindbæk own representation of itself as: "Konfliktsky" (from the title in Lindbæk message in "newspaper Tromso", 8 April 2011).




Just want Lindbæk to ignore what took place during the call in Oslo June 2, 2010. It is this conversation DN at best "Vi Menn" jargon refers to as a "secret meeting ... that very few knew about ...". This meeting was certainly not trumpeted to the world, but it was not secret - it was held at a konferranserom at a hotel in downtown Oslo, in broad daylight - and was not as "... a waste" as Lindbæk even hevderi DN . We - and not Lindbæk as DN said - took the initiative for this meeting. We intended to stop the aforementioned The SMS and emails that Lindbæk sporadically sent us. l addition, we wanted to get Lindbæk in clear speech. He had in fact until then yet to wrap managed to articulate the injustice he felt we had made him specifically what Iåt (s) it was, and what values ​​he believed we had deprived him Wed. We made notes both during and immediately after the meeting:


The only thing that is present is Lindbæk, Brundtland and Berge. We open the courage to ask Lindbæk straight "What do you want?", Whereupon Lindbæk replicates "What do you want?". We explain Lindbæk that we want an end to his "correspondence" and this must stop because his accusations are false and his practices are perceived as very unpleasant. In addition, we call for clarity and understanding of Lindbæk view of the case and says that if Lindbæk want a debate on his claims, he must be more precise. Lindbæk will talk about our song "40 Years Back/C0me". He walks quickly into a mode where he acts directly foul against us, and again aimed his accusations at Berge and Berge claims that have not been with the song "40 Years Back / Come." We refutes this dispassionately tonelag. But Lindbaek is deaf to our arguments (the same that will be presented later in this post). He claims we have made an old song he created and added "sound on it." Lindbæk agitate violently and acting aggressively. We do not want to be rude to our personal characteristics of Lindbæk, but that day he was in amps warm, cold sweat, frantically and loudly. We review the genesis of "40 Years Back / Come" NOK off and says that Lindbæk not entitled to anything at all what the song is concerned. We also make the point that it is striking that he comes with these outrageous claims now - 9 years after the "Melody AM" came out. We tell Lindbæk that in 2001, when "Me | odyA.M." came out, congratulated us, and confessed that he could never make something so good. We make him aware that he was at the time, in 2001, did not mention a word about the lack of credit on his behalf. We confer again Lindbæk with the striking "timing" of his outrageous claims, which coincides with rumors that Lindbæk have built up substantial debts. Lindbæk seems - understandably NOK - that our approach is provocative, but he does not deny the allegation. We ask him when the song "A Higher Place". What he claims he has done with this song? The song was called "Come" but was never released - at that time. "This is nonsense from Lindbæk page. Us to explain:


Oslo 1996. Brundtland is a creative process, when he comes across a CD in the studio. He inquires in the CD source, whereupon Lindbæk says he has received from the Norwegian Music. Brundtland inquires in making the CD in connection to any samples. Lindbæk say that all music on this CD can be sampled free, as it is "royalty" free "- that" tax free ". His explanation seemed credible. The CD came from the Norwegian Music was plausible, since NM at this time was a major player in the sale of studio equipment and such was the distribution of AKAl-samplers in Norway. Furthermore, it is true that Lindbaek said - "sampleCD'er" may be royalty-free, you do not need to clear use with copyright holders. This CD was therefore sampled from up to several times - in the good faith belief that one did not need each credit the authors for use. A guitar sampling IRA CD was used in extensive "Drum lsland" song "Glacier". This was the Brundtland and Mjøs made in good faith belief that such sampling is not needed â credited for use. From the same CD, in the same period, also found the sound bites Lindbæk describes as "Alani` a, "" song "Come", the road into the sampler. Approx. 10 seconds of what would later prove to be Michael Manring ~ song "Red Right Returning" was sampled - and then manipulated on the sampler - entirely by Brundtland. Lindbaek was only present during the small part of this studio session, and was not involved in the manipulation of the sampling head. Lindbaek had the rest of the time neither the knowledge or knowledge of how to use a sampler. The product of this exercise with the sampler can therefore only be said to be created or composed by Michael Manring. And potentially Brundtland, because of his manipulation of sampling. The use of this sampling found during Brundtland's visit to Oslo, never the way into a piece of music. This sampling was not given a name and never put into any musical context. The name "Come" was never used or used in connection to the sampling. If you read the forward in DN is suddenly the "Lindh yet given up each get a composer of the rights to" Come. "(We assume DN here mean" 40 Years Back / Come "). Lindbæk argues further, very generously, that he will not require any for "40 Years Back / Come." This has to seem strange to the uninitiated - hvonor Lindbæk would give up his claim, if he was so sure of himself? But as we have told the Lindbæk and DN are not told, it probably not so surprising after all. Lindbæk must finally have realized how crazy it is, that he has previously submitted a claim against us, claiming ownership of what is actually Michael Manrings intellectual property.


Should now Lindbæk still claim ownership of Manring-sampling (!) - He has mentioned previously changed his views in connection to the songs he feels offended in relation to - we will help of a sampler could easily prove what a piece of sampled music only can be owned by the sampled. Put easier with an example: If sampler Elvis, is not automatically the author of the music you have sampled from Elvis.


Or demonstrated with a "Beatles" - |​​ that, we simply can sample 10 seconds of "Penny Lane" and with a simple gesture to send sampling through a standard sampler filter. We can then repeat in a loop and repeat over time. No other Instuments and no new votes will be added. No other one 'BeatIes'-sampling has been used. The fact that we have sampled "Penny Lane" will not be tilstrekelig that we can claim ourselves as creators of the Beatles' song of the same name. In the same way that no other Instuments and no new votes, beyond the Manring-sampling is applied to the bit Lindbæk have claimed ownership to.


Let us now look at the two tracks, "Lift" and "A Higher Place". The song "Lift" is the "Drum Island" s self-titled album, released on the Belgian Apollo Records (1997). "A Higher Place" is a song by Röyksopp, found on the Röyksopp album "Melody AM" (2001).


"Lin" =


The song is entirely composed of Torbjørn Brundtland, with the exception of a vocal sample of the band "TyreII Corporation". This sampling is not able! for use.


We fail at this tidspunki to be too specific and concrete in relation to the composition process of "Lifl", both artistically and technically. This is simply to avoid Lindbæk - through instruction from assistant - will be able to learn the process today, and thus able to assert themselves as co-composers.


But Brundtland will, by any court, with the help of an attorney Lindbæk questioned about his alleged compositional contributions. Through a technical demonstration will Brundtland then prove that he and only he, is behind the creation of the "little". Brundtland will be able to explain how each of the song elements have been composed, and explain these elements' up ~ phav and specifically, which places the inspiration for each item comes from. The whole reason the idea for "Lift" is the Brundtland. Both the location of Tyrellsamplingen and writing of all rhythms (yes, the rhythm was deliberately written) is Brundtland's work. Never has Lindbæk taken part in this creative and compositional process. In 1997 would Lindbæk not had sufficient knowledge of either musical instruments, studio engineering and music composition, to be able to have made the music he claims to have made. This is within the musikkmiljoet we belong, widely known.


Lindbaek was never present in the room when all ellementene in "little" was collected or created. This was done by the Brundtland alone, with the exception of some minor percussive and atmospheric samples, which were sampled by Berge and Barlindhaug (under "Aedena Cycle" time in Tromso). Lindbæk came first after all the items in the song "Lift" was created. Lindbæk would help to "stretch out the song", that is, organizing the elements along a timeline on the computer screen. This was done in minutes. Brundtland irritated that Lindbæk wanted to DJ tormattere song, that is, stretching the song as if it was meant for a dance floor, contrary to Brundtland's vision for the track. is credited with "Extra input" on the songs "40 Years Back / Come" and "A Higher Place".


This credit is twofold. Lindbæk have the credit "Extra input" on "40 Years Back / Come" on the basis that he claimed ownership of the CD where Manring-sampling is taken from. Lindbæk claimed, however wrongly, that all mu zik on this CD was "royaIty-free" ("tax free"), and thus free samples we realized in hindsight that Lindbæk either mistaken or lying about this CD , since all music in this was copyrighted. This is also why Michael Manring-sampling the original was not cleared for use in "40 Years Back / Come." and that Manring is not credited in the cover of "Melody AM". Trust of the sampling was done only after Manring even made contact with us.


the other side will find it as one of our music environment has a long tradition, namely "tuIIekreditering" in the plate / CDcover. This is found in a number of publications, both we and Lindbaek has væn on. On AIanias "Instinctive Travels" for example, has Lindbæk even credited a fictitious, non-existent orchestra, "the star city Orchestra" and its fictional "conductor" Dean Martini. Martini is credited by virtue of the fact that he was a friend of Lindbaek. As a greeting, one must assume. Other fictional members Wolfgang Hubel, Miossolini, Brundtolotti, Emmanuel Splice, etc. also appears on recordings from 95 and up to today. We will never say anything bad about our own music, but it is an undeniable fact that the song "A Higher Place" is a key track on the release "Melody AM". The song is not a single, nor a signaturlåt as "apple" or "So Easy". Maybe you Lindbæk to torhoye market value of the song, in case he was successful in his case? Although. it's flattering that the authors are of the opinion that the song is a hit, even if such a claim only testify a not particularly good torstålse of what and what music is basically making shop.


It is sometimes difficult to read the difference between what is Lindbæk claims and what is DN's own point of view. l a little nuanced presentation, we definitely impression that DN sympathize with Lindbæk history, and therefore have such a subjective representation. DN could certainly in the future claim to have been deceived by the blow Lindbæk, but with a more thorough research would DN have clarified these issues before. It must also be mentioned that we are having surgery innsistene that Skålmo - when he called us two weeks for the issue came out, did extensive research on Lindbæk and that he (Skålmo) made contact with other people who could comment on the matter. But the advice seems totally overlooked.




This letter has been far and wide. The amount of text shows that this issue affects us and that we care. It has also been time consuming.


We have talked with most of the people who have been dragged into the case of Lindbaek. The majority has spoken, but not all have wanted to comment in ofientlighet. All those who have spoken out, have also had the opportunity to read through their quotes, before these have been offentligg jon. There has been a sad and hard process, but unfortunately absolutely necessary.

In response to Lindbæk tirades in the media, we have now presented all the facts of the case. A short summary;


The song is composed of Torbjørn Brundtland as "Drum Island". The song contains a sample of the band "TyreIl Corporation". This sampling is not cleared for use in the song, and "TyreII Corporation" is not listed as composers with TONO. It does, however Lindbæk and Brundtland with a 50/50-splitt. We consider TONO-registration as crazy as Brundtland, with the exception of sampling, has composed all the music. Lindbæk refers to a TONO-registration as for his own usagn give him the right to half the song. We have shown that Lindbæk through power abuse occupy an unfair share of 50 percent in the song "Lift". We have also shown - and can facilitate further examples, that unfortunately occur errors in registers to ASCAP, BMI and GRAMO. The reasons for this are many. Lindbæk alone behind countless false registrations in TONO.


In the case of "Lift" is it like said about threats made by Lindbæk the Brundtland.


Svein Berge and Torbjørn Brundtland as "Röyksopp". The song contains a sample of the band "TyreII Corporation", which is cleared for use. The song is properly registered with TONO.

'The DN's website does songs "Lift" and "A Higher Place" equal. How can you argue they are not?


Because the DN has posted two versions of the same song. Both songs on the DN website is Ftöyksopps "A Higher Place", but in two different versions. One is a recording from Quart 1998, the other the ierdigutviklede and final release from the album "Melody AM".


If one compares the Drum Island "Lift" and Röyksopp "A Higher Place", will the outcome be very anneriedes.


Svein Berge and Torbjørn Brundtland as "Röyksopp". The song contains a sample of Michael Manrings "Red Right Returning", which is cleared for use. The song is properly registered with TONO.

'Is Brundtland and Berge sued by Lindbæk?


No. Lindbaek has not yet sued us and we have not received any subpoena. If Lindbæk had a case, you would think we had been sued for a long time ago. Lindbæk have switched between English and Norwegian lawyers in an attempt to take us to court. Figures though he has notified the subpoena, he has not yet realized these threats. The obvious question is: if Lindbæk case is as good as he claims, why he hesitates to take us to court?


* Why has Lindbæk changed lawyers several times?


It must Lindbæk even respond to. But the question is of great relevance. For what happened to the Runes British lawyers? Why the drop? Can his lawyer-change have slowed the process somewhat in disfavor Lindbæk? Is it just us who have been elusive with "our army" of one German manager?


What for us appears to be the most bizarre in this case, is Lindbæk ethics. He has ioyet taken and threatened in a number of years. That he seeks to draw a picture of us as the bad guys - and himself as a offerfl). feels unreal. In addition, claims Lindbæk having major problems with how we have handled the matter - as if there rests a responsibility on us. Lindbæk harassment and intimidation has been with us the last couple of years. We have repeatedly stated that his claims are outrageous and we have asked him to set his Vendetta. But Lind has sporadically continued. and asked us to "clean up". Lindbæk have. like a ghost from the past, spontaneously showed up and hung over the Brundtland in particular. The unpleasant memories of the past have been heavy. All the fear that new messages at helsl to tick on your mobile phone or show up in your inbox.


And we concede that we have not devoted Lindbæk claims much attention in the beginning. With our experiences associated all Lindbæk person, it was impossible tor us each take his claim seriously. Besides, his verbal attack against us in a period where Lindbæk was characterized by economic turbulence. His approach to us since 2007 has been sporadic and we have experienced them as "schizophrenic." Lindbæk could eg. send a hate mail followed by an email in which he recommended us music and DJ's, or any invitation to the club nights. Forhåpentiigvis will now find our reservations against Lindbæk justified, and our handling of the case little reprehensible. We have acted to the best of ability.


Svein Berge, Torbjørn Brundtland Bergen 20.04.11


A few days ago, artist Erlend Sellevold a message from TONO. The songs Lindbæk had registered with TONO - with himself as a composer, was no longer in dispute. That Lindbæk had fralalt their demands for rights as a composer in Erlend Sellevold compositions. It can, in other words either seem to Lindbæk realizes and regrets his behavior - or as he seeks to hide their misdeeds.



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Lindbæk is the bad apple here I think.. A lot of people claims he's never produced much in his life and one of his "solo" albums is mostly produced by another guy (Gaute Drevdal) as well, witch further signifies Röyksopp's claim that he just milks people around him, and leaves them when they protest. It's an intriguing story either way, and I'll keep following it. It's made me dig up a lot of old cd's as well, that I've enjoyed a lot.

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