Tag: Martin Stenmarck

Saturday Flashback: Martin Stenmarck – Tonight’s The Night

“Since when did the first verse do that?”

Tim: I realised after I wrote it that Wednesday’s post may have given the impression that Melodifestivalen 2014 was Martin’s first outing; hell no, in fact he’s been going a couple of decades. Here’s a particular highlight, from 2011.

Tim: That’s a heck of a first few notes, I think you’ll agree, which is a good start for what’s a very good track.

Tom: I’m DANCING IN MY CHAIR to the first verse, Tim. Maybe it’s late and I’m tired as I write this, maybe I’m just in a suggestible mood, but since when did the first verse do that?

Tim: You think? Because my thought was that the verse wasn’t really the greatest, but then that chorus is very definitely loud and vigorous and enticing.

Tom: Oh! Oh you’re so wrong. The chorus was a bit of a let-down, because it’s a little bit slow and suddenly goes into a minor key at the end. I’m all about the insistent percussion and the synth backing in the verses, and that’s really weird for me.

I’m guessing you’re about the choruses, though?

Tim: Oh yes – the last chorus in particular, back after that shouty then briefly quiet middle eight, could safely be described as enormous. Multiple vocal lines, massive production with big beats behind it…basically everything you need for a terrific dance track. Martin Stenmarck: excellent artist.

Tom: Agreed.

Martin Stenmarck – Glas, Betong Och Cement

“Maybe I’m just a bit tired, but I can’t quite get over that lyric.”

Tim: Six months on, I’m fairly sure that “När änglarna går hem” was one of the more memorable chorus lines from Melodifestivalen of this year; on the other hand, we both decided his next one was something we’d like to forget. This one?

Tim: Well that’s a whole lot closer to the first, and I’d actually say better than it, what with there being no dull first verse to get bored during. Instead, there are just big honest vocals conveying the general mood of the song.

Tom: You know how sometimes it’s all about the chorus? This time, it was all about the middle eight for me. That urgent percussion, the staccato vocals: that’s the part that stuck out to me.

Tim: You can probably guess what Glas and Cement translate to, and Betong is concrete – the main chorus line is roughly along the lines of “I’ll keep dancing as if nothing has happened, another broken heart amongst glass, concrete and cement.”

Tom: Ooh. Ooh, I like that a lot, and suddenly the chorus stands out for me as well. That’s an absolutely brilliant lyric. Maybe I’m just a bit tired, but I can’t quite get over that lyric.

Tim: Yes, but I kind of want to say ‘come on now, you’re getting just a bit melodramatic there aren’t you’; having said that, it reminds me of a good number nights out at university when I may have had a few too many, and quite frankly I think it’s great, especially the yelling during the middle eight. LET IT OUT, MARTIN. LET IT ALL OUT.

Martin Stenmarck – Sommarbarn

“Gosh, that’s enjoyable. Or irritating.”

Tim: According to Google, Sommarbarn either means ‘in summer’, ‘summer beach’ or ‘summer child’, but I’m not sure which it is here.

Tom: Well, that’s helpful.

Tim: You’re welcome. And Tom, I’d advise you skip the first eight seconds.

Tom: Kids’ choir, I guess?

Tim: Gosh, that’s enjoyable. Or irritating, I can see why some people might find it irritating if they’re not keen on the whistling, or find the kids backing up the chorus distracting. In fact to be honest I’ve heard it just twice and both of those things are starting to grate on me now I’ve thought about them that way.

Tom: Ah, see you’re just one listen behind me there.

Tim: The first time I heard it, though, I really liked it, so I suppose what we have here is a song that we can all hear once and then never really want to hear again.

Tom: I’d agree with you there.

Tim: A clear success story, then.

Saturday Reject: Martin Stenmarck – När änglarna går hem

“The staging adds a lot to this.”

Tim: Andra Chansen rolls around, and, as far as I’m concerned, went fairly well – my favourite four ended up all in the top five, and the two that went through were both decent enough. Disappointed this didn’t get through, though.

Tim: I’ll be honest: the staging adds a lot to this.

Tom: Agreed: that barrage of lights during that glorious first chorus really does add something.

Tim: It is, undeniably, a slow builder – that first verse is really quite dull, and I found it hard not to be distracted that that idiotic hat. But come the chorus, all was immediately forgiven, or at least forgotten.

Tom: There is a bit of Stevie Wonder’s I Just Called in that build — “no April rain, no flowers bloom, no wedding Saturday,” etc. But I’m willing to believe that’s coincidence given how different, and how big, the rest of the song is.

Tim: Not only did it pick up musically, the light show that was going on him, simple as it was, did so much to say LOOK AT THIS AND PAY ATTENTION. And after that, it was just a question of keeping the attention, which was easy enough with this song – you’ve not only got the background chanting, but also him shouting the decent tune at the top of his voice and then, once we might have got bored of that, the old “break glass in case of emergency” tactic: spread your legs as far as possible.

Tom: There’s more than one way that could be taken.

Tim: And all good ways. Job’s a good’un, let’s have the votes please.