If you people only knew how hard it is to blog on an iPad... This is my third attempt to publish this blog post. Soon I will know it by heart. And it grows shorter and shorter for each attempt...
This week, I will miss out on all the eurovision action as I am spending my weekend in Berlin - the best city there is. So I am not complaining, but I will be a bit short on the blogging and commenting.
But these are my short thoughts about the national finals coming up (and that I have in some way followed).
FINLAND
The third week of UMK will look like the second one - six acts will sing up for the jury, two acts will get eliminated. I keep my fingers crossed for my three big favourites Kaisa Vala, Leola and - above all - Ville Eetvartti to join obvious jury favourite Freeman for the next stage of the competition.
ICELAND
The Icelandic final seems rather likely to end up as a two horse race between two previous participants. If Regina Ósk and Jónsi really do fight it out in the end, I believe the latter one will win due to a more bombastic entry and performance. But even though five out of seven participants are good and have some sort of international potential, the unpredictable local televoters could just as soon favour the dead end folktune or the dismal boy band. And then it is Goodnight Iceland.
NORWAY
My guess is that dull "provocative" rock act Plumbo, who made complete fools at themselves commenting Madcon (and their skin colour) during the Norweigan Grammies, will win and secure Norway a second consecutive non-qualification in Baku. Therefore I have not paid too much attention to the line-up. Hopefully there is something really good there to enthuse the voters in another direction. Like the heart-throb singing Hanne Sorvaag's entry, even if he is better than the actual song.
SWEDEN
I have found myself firm favourites in the two slick, low-key, tastefully retro-tainted dance entries by Andreas Lundstedt and Mimi Oh, although I realise they are most unlikely to win through with the audience. Televoters will probably go in a spin over Ulrik Munther and Sonja Aldén and I can deal with that. But if they send Thomas di Leva (on old merits alone) and the rockabilly youth into the final, I have to question my relationship with Sweden and ask myself what we ever saw in each other.
ANYONE ELSE?
Is anyone else selecting this weekend? What kind of eurovision blogger am I? I will catch up as soon as I can once I am back from Berlin, so expect updates early next week.
Friday, February 10, 2012
Sunday, February 5, 2012
Malta 2012: Kurt could have potential
Last night, Malta selected their entrant for Baku out of sixteen hopeful contestants in the national final. After the televoting results had been added to the opinions of an international panel of judges, Kurt Calleja beat Claudia Faniello into second place.
There was a tiny uproar among the international hardcore fans (readily angered by the fact that the long final was designed to entertain the local audience and not them) who would have preferred the polite little runner-up ballad to win instead.
I think Kurt was quite a sensible choice after all. There is potential in the package, but there is work to be done.
The song needs to be re-arranged and given a much more powerful, slick and energetic sound. Right now it sounds like something plastered together in a hurry in a low budget home studio. That will not do. Send it to professionals and make it sound convincing.
The stage perfomance needs severe work. Call a good choreographer, make sure there is a routine to back the whole thing up. Right now the people on stage look like a happy bunch singing spontaneously at a village party. That will not do.
Kurt himself needs some major vocal coaching, not only to avoid losing his breath but also to make sure he avoids falling into the "How's it going", "How 'ya all doing", "Come on Baku"-routine. You should perform for the audience, not shout at them. This is ever so important. They are not your friends, they expect you to do your work. The performance from last night won't do.
But given that the proper amount of knowledge and talent is invested into this package, Malta could end up the happy clappy song that scrapes into the final on basis of its pure energy.
It is certainly worth a try.
Kurt Calleja - This Is The Night (Malta 2012)
There was a tiny uproar among the international hardcore fans (readily angered by the fact that the long final was designed to entertain the local audience and not them) who would have preferred the polite little runner-up ballad to win instead.
I think Kurt was quite a sensible choice after all. There is potential in the package, but there is work to be done.
The song needs to be re-arranged and given a much more powerful, slick and energetic sound. Right now it sounds like something plastered together in a hurry in a low budget home studio. That will not do. Send it to professionals and make it sound convincing.
The stage perfomance needs severe work. Call a good choreographer, make sure there is a routine to back the whole thing up. Right now the people on stage look like a happy bunch singing spontaneously at a village party. That will not do.
Kurt himself needs some major vocal coaching, not only to avoid losing his breath but also to make sure he avoids falling into the "How's it going", "How 'ya all doing", "Come on Baku"-routine. You should perform for the audience, not shout at them. This is ever so important. They are not your friends, they expect you to do your work. The performance from last night won't do.
But given that the proper amount of knowledge and talent is invested into this package, Malta could end up the happy clappy song that scrapes into the final on basis of its pure energy.
It is certainly worth a try.
Kurt Calleja - This Is The Night (Malta 2012)
Sweden, semi 1: A touch of class
The first semi of Melodifestivalen 2012 is over and resulted in what I did not dare hope for: Loreen, with her elaborate stage show and sophisticated dance track, went straight into the final. Sweden never embraced an entry like this in the past and this was a very welcome surprise given the more likely scenarios.
I predicted Sean Banan would do Dead for April company bang into the final, but I'm not quite unhappy about Banana Boy going into the Second Chance round instead. You never know what competition he will face there, but I think the fun is over for him.
I thought The Moniker would reach Andra Chansen, but he was left in last place. That was the only thing in my prediction that went completely wrong, but I guess the dramatic change of musical direction backfired on him. In no way was his song the weakest in this line-up.
As a show, this was Melodifestivalen by the numbers: a glossy, luxurious package where most things looked good and lavish (apart from the surprisingly cheap and uninspired artist presentations before each song) and not much effort had been spared to make a good show.
And yet... I can't shake the feeling that the whole thing has turned a tad too predictable. If you watched it for the last couple of years, you know very much to expect. The kind of "intellectual" humour in the scripts, the pre-recorded sketches, the interval acts. Everything is top crop but I wasn't surprised once.
Maybe for 2013 it would a good idea to really shake the whole thing up, throw all the pieces in the air and try to really give the audience something they truly did not expect.
But these discussions can wait for later, right now I will just sit back and be very pleased about the Swedish televoters accepting Loreen the way she is.
I predicted Sean Banan would do Dead for April company bang into the final, but I'm not quite unhappy about Banana Boy going into the Second Chance round instead. You never know what competition he will face there, but I think the fun is over for him.
I thought The Moniker would reach Andra Chansen, but he was left in last place. That was the only thing in my prediction that went completely wrong, but I guess the dramatic change of musical direction backfired on him. In no way was his song the weakest in this line-up.
As a show, this was Melodifestivalen by the numbers: a glossy, luxurious package where most things looked good and lavish (apart from the surprisingly cheap and uninspired artist presentations before each song) and not much effort had been spared to make a good show.
And yet... I can't shake the feeling that the whole thing has turned a tad too predictable. If you watched it for the last couple of years, you know very much to expect. The kind of "intellectual" humour in the scripts, the pre-recorded sketches, the interval acts. Everything is top crop but I wasn't surprised once.
Maybe for 2013 it would a good idea to really shake the whole thing up, throw all the pieces in the air and try to really give the audience something they truly did not expect.
But these discussions can wait for later, right now I will just sit back and be very pleased about the Swedish televoters accepting Loreen the way she is.
Saturday, February 4, 2012
Fingers crossed for Malta tonight!
While Sweden is kick-starting their season with the first of six weeks of Melodifestivalen mania, Malta is about to select their 25th entry for Eurovision.
It has to be said: for a country their size, Malta has been mindblowingly successful at the ESC. Twice runner-up, twice heartbreakingly close to winning the whole shebang.
Lately, perhaps, the Maltese have not been quite up to standard. Since Chiara's second place in Kyiv 2005, the island nation has only twice been present in the final, on both occasions ending among the last.
There is a reason to this, however. Maltese composers have not been really careful about their craft and often settled for unpolished and under-developed song constructions, relying on simple hooks or gimmicks.
In the 90's, when Malta often belonged to the group of favourites, they often entered strong songs with insufficient performances. Lately it has been the reverse: good performers have been sent to the European stage with dismal songs and weak choruses.
So far, I am yet to hear a single entry in this year's Maltese line-up, but I hope they will run with a quality song rather than a cheerful performance or a fun gimmick.
We'd all love to spend a week in the sun in May 2013, so gives us your best shot. Fingers crossed.
Helen & Joseph - L-Imhabba (Malta 1972)
It has to be said: for a country their size, Malta has been mindblowingly successful at the ESC. Twice runner-up, twice heartbreakingly close to winning the whole shebang.
Lately, perhaps, the Maltese have not been quite up to standard. Since Chiara's second place in Kyiv 2005, the island nation has only twice been present in the final, on both occasions ending among the last.
There is a reason to this, however. Maltese composers have not been really careful about their craft and often settled for unpolished and under-developed song constructions, relying on simple hooks or gimmicks.
In the 90's, when Malta often belonged to the group of favourites, they often entered strong songs with insufficient performances. Lately it has been the reverse: good performers have been sent to the European stage with dismal songs and weak choruses.
So far, I am yet to hear a single entry in this year's Maltese line-up, but I hope they will run with a quality song rather than a cheerful performance or a fun gimmick.
We'd all love to spend a week in the sun in May 2013, so gives us your best shot. Fingers crossed.
Helen & Joseph - L-Imhabba (Malta 1972)
Sweden, semi 1: Tobson predicts
It is the time of the year when the biggest circus in Euroland starts, apart from the grand final itself come May, the extravaganza known as Melodifestivalen, the Swedish national final.
A total of 32 songs will fight it out, in four semis and one Second Chance round, for ten place in the big final in Globen in March.
The first eight go into battle tonight and SVT has released both minute-long video clips from early rehearsals as well as full length audio clips on their webpage and this is how I find them.
1. SEAN BANAN - Sean den förste banan
I used to have an acute allergy towards humour entries in the Eurovision, but the adorable Verka Serduchka from Ukraine shook that out of me once and for all back in 2007. So that is not the problem here. I hear how catchy this is and how the hook plasters itself all over the place in my brain's musical centre, and yet I'm not particularly impressed. I just thought there would be more to it than this rather internal joke. A good opener, and most possibly a finalist, but not a wise choice for Baku.
2. ABALONE DOTS - På väg
Soft and competent country-scented and low-key, like a whisper sung in close to perfect key. A lovely little song of the kind that Sweden never votes for. As chanceless now as it ever was before.
3. THE MONIKER - I Want To Be Chris Isaak (This Is Just The Beginning)
The complete anti-thesis of his multicoloured effort from last year - an understated little tune that leans against a shy little violin in the verse and then starts dancing around more happily in the chorus. It could be just the title and all, but it gets me thinking of the (slightly catchier) "I Want To Meet Bob Dylan" from last year's Estonian final. I like it, but ten minutes later I can't remember a single note of it. Not a good sign.
4. AFRO-DITE - The Boy Can Dance
Ten years ago, Afro-Dite were commercially successful and highly anticipated winners of the first melodifestival sporting the current format. After the flop in Tallinn (hey - everything is relative, back in the day Sweden counted anything outside top three as a failure) their success came to nothing and time has not been very kind to "Never Let It Go". What was intense and fabulous back then now leaves a taste of dust in your mouth. And there lies their problem this time around - this is nicely tailored and energetic, but nowhere near as engaging as it would need to be. There are other comebacks the audience would long more for than this one.
5. DEAD BY APRIL - Mystery
Metal with sharp edges in Melodifestivalen? Not a bad idea, really, as Sweden - just like Finland - is never completely averse to a piece of rock with attitude. It is just surprising that the metal never turns particularly spiky in the end. The gargling (a grawl, I think is the scientific term) has promise in this domain, but the rest of the package is surprisingly void of attitude. Instead of a tiger's roar we get a kitten's hiss. Oh dear. Not too scary if you ask me.
6. MARIE SERNEHOLT - Salt And Pepper
Let me state two things at once: I think "The Boy Does Nothing" is an enchanting little track that makes me want to dance and I absolutely adore the entire being of Marie Serneholt. Blend these and you should have an entry to knock me over, but eurovision algebra is never quite as easy as that. It takes more than mambo to move me, and something is missing to make this upbeat little number memorable. Marie sings she is looking for spice - here is salt and pepper aplenty but not beef. Too bad.
7. THORSTEN FLINCK & REVOLUTIONSORKESTERN - Jag reser mig igen
My father was always a big fan of Swedish troubadour Fred Åkerström, who never entered Melodifestivalen (and who would probably have preferred being eaten alive than do anything of the kind). The vocals of this entry are surprisingly similar to Fred Åkerström's, but while he would invest himself in a song, actor Flinck plays the part of a singer. Too much acting but not enough of a plot. And self-pitying lyrics about how hard it is to be famous do very little for me.
8. LOREEN - Euphoria
The sky-high favourite among bookies, journalists and fans as well as with the audience poll after last night's dress rehearsal, Loreen is set to take revenge for missing out on the final last year. With it's exquisite arrangement and tasteful production it also stands out as my clear favourite of the week. But there are still clouds blocking the sun. Loreen's biggest disadvantage last year was her inability to go through the screen - will she manage this year? Will the Swedes embrace this kind of slick dance track despite never really doing so in the past? I would love to see this in the final, but the flashing lights in the back of my mind tell me not to be too sure.
Knowing that Sweden will throw itself over its first semi like mad and vote until their telephones bleed, I get a feeling the two finalists will be songs that hit home with the masses rather than with me, songs that will work better in the local charts than in Eurovision.
To the final I predict Sean Banan and Dead By April. I wouldn't choose either of them, but I have a nagging feeling that humour and some metal will attract votes tonight. Loreen and The Moniker will find themselves in Andra Chansen.
As for the fifith place, the awkward spot where you almost made it, it could be anyone of the others but I think the notority of Marie Serneholt could help her mambo this far.
Personally, I would gladly reverse the whole thing and send Loreen and The Moniker to the final (and Marie to Andra Chansen) but I have my doubts.
This is my truth, now show me yours. What do you think?
A total of 32 songs will fight it out, in four semis and one Second Chance round, for ten place in the big final in Globen in March.
The first eight go into battle tonight and SVT has released both minute-long video clips from early rehearsals as well as full length audio clips on their webpage and this is how I find them.
1. SEAN BANAN - Sean den förste banan
I used to have an acute allergy towards humour entries in the Eurovision, but the adorable Verka Serduchka from Ukraine shook that out of me once and for all back in 2007. So that is not the problem here. I hear how catchy this is and how the hook plasters itself all over the place in my brain's musical centre, and yet I'm not particularly impressed. I just thought there would be more to it than this rather internal joke. A good opener, and most possibly a finalist, but not a wise choice for Baku.
2. ABALONE DOTS - På väg
Soft and competent country-scented and low-key, like a whisper sung in close to perfect key. A lovely little song of the kind that Sweden never votes for. As chanceless now as it ever was before.
3. THE MONIKER - I Want To Be Chris Isaak (This Is Just The Beginning)
The complete anti-thesis of his multicoloured effort from last year - an understated little tune that leans against a shy little violin in the verse and then starts dancing around more happily in the chorus. It could be just the title and all, but it gets me thinking of the (slightly catchier) "I Want To Meet Bob Dylan" from last year's Estonian final. I like it, but ten minutes later I can't remember a single note of it. Not a good sign.
4. AFRO-DITE - The Boy Can Dance
Ten years ago, Afro-Dite were commercially successful and highly anticipated winners of the first melodifestival sporting the current format. After the flop in Tallinn (hey - everything is relative, back in the day Sweden counted anything outside top three as a failure) their success came to nothing and time has not been very kind to "Never Let It Go". What was intense and fabulous back then now leaves a taste of dust in your mouth. And there lies their problem this time around - this is nicely tailored and energetic, but nowhere near as engaging as it would need to be. There are other comebacks the audience would long more for than this one.
5. DEAD BY APRIL - Mystery
Metal with sharp edges in Melodifestivalen? Not a bad idea, really, as Sweden - just like Finland - is never completely averse to a piece of rock with attitude. It is just surprising that the metal never turns particularly spiky in the end. The gargling (a grawl, I think is the scientific term) has promise in this domain, but the rest of the package is surprisingly void of attitude. Instead of a tiger's roar we get a kitten's hiss. Oh dear. Not too scary if you ask me.
6. MARIE SERNEHOLT - Salt And Pepper
Let me state two things at once: I think "The Boy Does Nothing" is an enchanting little track that makes me want to dance and I absolutely adore the entire being of Marie Serneholt. Blend these and you should have an entry to knock me over, but eurovision algebra is never quite as easy as that. It takes more than mambo to move me, and something is missing to make this upbeat little number memorable. Marie sings she is looking for spice - here is salt and pepper aplenty but not beef. Too bad.
7. THORSTEN FLINCK & REVOLUTIONSORKESTERN - Jag reser mig igen
My father was always a big fan of Swedish troubadour Fred Åkerström, who never entered Melodifestivalen (and who would probably have preferred being eaten alive than do anything of the kind). The vocals of this entry are surprisingly similar to Fred Åkerström's, but while he would invest himself in a song, actor Flinck plays the part of a singer. Too much acting but not enough of a plot. And self-pitying lyrics about how hard it is to be famous do very little for me.
8. LOREEN - Euphoria
The sky-high favourite among bookies, journalists and fans as well as with the audience poll after last night's dress rehearsal, Loreen is set to take revenge for missing out on the final last year. With it's exquisite arrangement and tasteful production it also stands out as my clear favourite of the week. But there are still clouds blocking the sun. Loreen's biggest disadvantage last year was her inability to go through the screen - will she manage this year? Will the Swedes embrace this kind of slick dance track despite never really doing so in the past? I would love to see this in the final, but the flashing lights in the back of my mind tell me not to be too sure.
Knowing that Sweden will throw itself over its first semi like mad and vote until their telephones bleed, I get a feeling the two finalists will be songs that hit home with the masses rather than with me, songs that will work better in the local charts than in Eurovision.
To the final I predict Sean Banan and Dead By April. I wouldn't choose either of them, but I have a nagging feeling that humour and some metal will attract votes tonight. Loreen and The Moniker will find themselves in Andra Chansen.
As for the fifith place, the awkward spot where you almost made it, it could be anyone of the others but I think the notority of Marie Serneholt could help her mambo this far.
Personally, I would gladly reverse the whole thing and send Loreen and The Moniker to the final (and Marie to Andra Chansen) but I have my doubts.
This is my truth, now show me yours. What do you think?
Wednesday, February 1, 2012
Song of the Day: Austria 1982
Where do I begin? Where do I begin? I guess I could say that we have a complicated relationship, this song and I.
It behaves a little bit like a dear old friend that you are genuinely happy to see again.
Until this dear old friend stars acting out in bizarre ways; hopping and clapping and dancing in public, knocking over glasses and tables, raising disapproval from everyone around, making you wish you were somewhere else.
Or, at least, that you dear old friend could behave and not make you look like a fool when other people are around.
This is, really, an infectuous little number with a very distinct and easily retainable chorus. The recorded version has a typically early 80's freshness over it, and the prominent piano sound gives the whole package a very nice touch.
Mess - Sonntag (Austria 1982)
And then comes the live version. Where the piano is replaced with a horrid organ. Where the duo is almost frighteningly cheerful and upbeat. Where the dancing would knock down glasses and tables had there been any around.
You silently wish for the whole thing to end and you find yourself pinching your arm, desperately trying to remind yourself why you liked this friend in the first place.
Mess - Sonntag (Austria 1982)
It behaves a little bit like a dear old friend that you are genuinely happy to see again.
Until this dear old friend stars acting out in bizarre ways; hopping and clapping and dancing in public, knocking over glasses and tables, raising disapproval from everyone around, making you wish you were somewhere else.
Or, at least, that you dear old friend could behave and not make you look like a fool when other people are around.
This is, really, an infectuous little number with a very distinct and easily retainable chorus. The recorded version has a typically early 80's freshness over it, and the prominent piano sound gives the whole package a very nice touch.
Mess - Sonntag (Austria 1982)
And then comes the live version. Where the piano is replaced with a horrid organ. Where the duo is almost frighteningly cheerful and upbeat. Where the dancing would knock down glasses and tables had there been any around.
You silently wish for the whole thing to end and you find yourself pinching your arm, desperately trying to remind yourself why you liked this friend in the first place.
Mess - Sonntag (Austria 1982)
Almost identical entries!
Now that I mentioned Monia and "Nu idag" from 1997, I will have to air a little thing that has been on my mind for many years already. This is what Monia sounded and looked like:
Monia - Nu idag (Sweden 1997 national final)
Then fast forward two years until 1999, when Klenoinki "Cleo" Nilsson entered the stage with her entry "Natten är min vän", written by her boyfriend at the time, a certain Thomas G:son who would go on to becoming one of the most successful songwriters in Melodifestivalen.
Cleo, who normally sang in the band Cleo & Grabbarna, really attacks her song with more energy and zeal than most dance vocalists could procure. She impressed the juries but scored zero points in the televote.
The fact still remains - her song is incredibly similar to Monia's entry two years before. The structure, the sound, the arrangement, the choreographed backing singers... Even the melody lines are pretty similar.
One evil little suspicion might pop up in your head but then again... Why steal a song that already flopped once?
Cleo - Natten är min vän (Sweden 1999 national final)
The relative failure did little harm to Cleo's career as one of the most acclaimed dance orchestra vocalists at the time, but a dramatic road accident a few years back put an end to her career.
According to this article, Cleo still sings - for the well-being of the soul - but is in no condition to tour or give concerts. A sad development for a really talented vocalist.
Monia - Nu idag (Sweden 1997 national final)
Then fast forward two years until 1999, when Klenoinki "Cleo" Nilsson entered the stage with her entry "Natten är min vän", written by her boyfriend at the time, a certain Thomas G:son who would go on to becoming one of the most successful songwriters in Melodifestivalen.
Cleo, who normally sang in the band Cleo & Grabbarna, really attacks her song with more energy and zeal than most dance vocalists could procure. She impressed the juries but scored zero points in the televote.
The fact still remains - her song is incredibly similar to Monia's entry two years before. The structure, the sound, the arrangement, the choreographed backing singers... Even the melody lines are pretty similar.
One evil little suspicion might pop up in your head but then again... Why steal a song that already flopped once?
Cleo - Natten är min vän (Sweden 1999 national final)
The relative failure did little harm to Cleo's career as one of the most acclaimed dance orchestra vocalists at the time, but a dramatic road accident a few years back put an end to her career.
According to this article, Cleo still sings - for the well-being of the soul - but is in no condition to tour or give concerts. A sad development for a really talented vocalist.
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