Europop – Page 93

Amanda Jenssen – Christmas Fool

Tim: Off the top of your head: most miserable Christmas song?

Tom: I lost the damn Get Through December Without Hearing That Goddamn Pogues Song challenge last week, so I’m going to go with that.

Tim: I’m still successful in that, actually, but you’re wrong. It’s this.

Tim: Well, I say that, and it’s kind of true – it starts off with a gunshot, the voice begins almost inviting you to tie yourself a noose with its tone, the music has you searching Google Earth for your nearest tall building and the lyrics are just the sort of thing to make you reach for your nearest bumper pack of paracetamol.

Tom: You say that, but it’s just not affecting me in the same way: that voice sounds like it’s out of an old Western movie, all smoky and tuneful, and that chorus is lovely. I found it calming and, well, a bit Christmassy; that middle eight had me smiling.

Tim: Well, if you’ll LET ME FINISH, I’ll actually agree with that. Because despite the fact that ninety seconds in (and despite a brief respite in the chorus), I’m pretty much reaching for the petrol canister—

Tom: Well, if the album is called “Hymns for the Haunted”, I can understand it. In fact, I’m going to go so far as to say: I really like it.

Tim: EXCUSE ME, STILL TALKING. DESPITE THAT (and now I’ve pretty much run out of ways to squeeze in any more suicide methods), fifteen seconds later, it develops. The backing choir re-emerges, the voice becomes more melodic and it actually becomes vaguely manageable. Later still, the guitar joins in, and it’s almost downright pleasant. Except for the fact that her pronunciation keeps making me think she’s singing about Chris Moyles.

Tom: Chris…mas… Moyles. Oh, come on. That’s ruined the song for me now.

Tim: OH WELL.

Icona Pop – Just Another Night

New video from Icona Pop for you.

Tim: New video from Icona Pop for you.

Tom: Blimey. They can sing.

Tim: Yeah, I didn’t write much in the intro because I didn’t want to spoil that for you; I’m guessing it’s not remotely what you expected?

Tom: Not at all.

Tim: They played it when I saw them live; it wasn’t a massive crowd-pleaser, but I’m not surprised they’ve made a video for it, just to demonstrate that they’re not just shouty girls but are actually talented singers. It still is a bit shouty, because that’s what makers them them, bit it’s probably as close as we’ll get to an Icona Pop ballad any time soon.

Tom: And you know what? I want more like this. Icona Pop’s regular style is always a bit too shouty and dissonant for me: this is brilliantly realised, wonderfully melodic, and just plain pleasant to listen to.

Tim: You say that, and it is, but I don’t really know when I’d ever choose to put it on: if I want Icona Pop stuff, this isn’t it, and if I want ballads, I wouldn’t put this on my playlist. So I’m going back to my earlier theory: to prove that they’re not just shouty. And for that, it works.

Danny Rossing – Terrified

“A pretty good pop song”

Tim: This is is the sort of lyric video you get when your designer (a) doesn’t realise there are exceptions to the rule “ultra-light text is the way forward” and (b) can’t count the number of times you sing “na”. YOU’RE WELCOME.

Tom: Oh, man, that is infuriating.

Tim: So, stock footage from various cities around the world, with apparent product placement for, of all things, a Broadway musical; throw in some scenic shots as well, plenty of illegible and incorrect text and you’ve got yourself a cheap lyric video.

Tom: What you’ve got, there, is an almost-competent designer that — I’d guess — never sat back and took a look at the big-picture of what the video looked like.

Tim: You’ve also got, it seems, a pretty good pop song that stands up very well to multiple listens, with a couple of decent hooks, a nice amount of brass here and there.

Tom: Now, perhaps it’s the repetition of the music video’s clips, but I found that it went on for a bit too long, even at three and a half minute.

Tim: The damp patch at the start of the middle eight is, like many damp patches, a bit of a pain but not too much bother really, so all in, this is a damn good track.

Tom: Whoa, hold on, the start of the middle eight? That piano break is wonderful, and a welcome change of pace: but the second part, the return to normality, it just unnecessary. You’re really calling that first bit a “damp patch”?

Tim: Well, yes, because what I really like about this is the vibrancy and the energy that’s around. I get your point about it being wonderful, because it is lovely but it just seems somewhat out of place.

It also, of course, provides an excellent opportunity for a sci-fi rom-com soundtrack, simply by pretending he’s actually singing “erasing” rather than “a race in”. Again, YOU’RE WELCOME.

The Fooo – Fridays Are Forever

“What 5ive might be bringing out.”

Tom: Ah, these guys again! Not a cover of an odd track, this time?

Tim: No, a new one. This appeared last Wednesday, but I only saw it on Saturday, and I thought we should probably leave it until now because, well, check the title.

Tim: As a poor, crappy retail worker I have little love for Fridays, coming as they do not before the weekend but before the worst day of the week, but it’s still hard to hear this without feeling some appreciation for that particular day. You said recently that Rebecca Black had ruined Friday for all future songwriters; turns out that’s not quite true because this song has all the marking of a fairly decent pop song.

Tom: It does – as soon as they started the sort-of-rap part, I started thinking of what 5ive might be bringing out if they were still around.

Tim: The rap/pop thing is interesting, in that it’s not really been done at all since, like you said, 5ive, way back when and pre-Big Reunion. Still works, though, so good work to them for trying to bring it back.

Tom: I briefly thought that The Fooo seemed a bit more aimed at kids than 5ive were, I then remembered that I’m older now and they’re probably about the same.

Tim: It’s catchy, it’s upbeat, and admittedly they’re probably singing more from the “we don’t have to go to school tomorrow” area than the “we don’t have to go to work tomorrow” one, but who cares? It’s a very enjoyable message which, well, a good 70% of the population can probably get behind. And if you can get that number on your side you can pretty much do what you want. World domination lies ahead. Or perhaps not. Probably not, really, because they’re a slightly above average Swedish boyband and not Richard III, but anyway, I’m drifting. Good track, well done to all involved.

Man Meadow – Kill The Dance Floor

“We are IN OUR PANTS.”

Tim: You may well not have heard of this Swedish duo; that’s entirely understandable as they’ve done five track in five years, and two of those were unsuccessful entries for Poland’s Eurovision selection competition (nope, me neither). For they’re sixth venture, they’re following in Cascada’s footsteps with a dance tune with an idiotic title.

Tom: Evacuate the dance floor, kill the dance floor: what’s next? Oh. Never mind.

Tim: Ah. See, I’d have gone for the final stage, but I think we’ve wandered off course somewhat.

Tom: “LOOK AT US”, says that video. “We are IN OUR PANTS.”

Tim: Yes…

Tom: And before anyone mentions it, I’d make similar comments about gratuitous titillation of any gender. And besides, even I have to admit the floppy-haired one has something going for him. Anyway! The music.

Tim: Many people, myself included at times, are starting to get annoyed with EDM as a genre, accusing it of taking over music with all sorts of generic, dull and lazy sounds, and at times (such as one particular Melodifestivalen heat this year) that’s justified.

Tom: That’s true: but any genre can have its dull and lazy tracks.

Tim: Other times, though, especially off-season for the style such as now, they can be enjoyed sperately, appreciating the fact that not only is it an above average and very danceable track, but also smaller things like how we have a video not focusing solely on girls in bikinis. I’m very happy with this.

Tom: I thought you might be.

Ida Wiklund – Kom Tillbaka

“There’s something just beautiful.”

Tim: It’s songs like this that really make me wish I knew a good amount of Swedish.

Tim: Because my word, what a song. Right from the off we have cracking background instrumentation, and when the vocal kicks the quality shoots right up even higher.

Tom: Quite — although I wasn’t sold on it until that first chorus hit. There’s something just beautiful about the start of that chorus. It’s happy, it’s friendly, and it’s surprisingly summery in the middle of a cold snap.

Tim: But dammit, what is she singing? There’s clearly a lot of emotion in that energetic singing, and I just know my enjoyment would be heightened by understanding what it is she’s singing. On the other hand, my enjoyment is already pretty high up, and I still leant to listen to this track over and over again; I just wish I could get even more out of it.

Tom: So… learn Swedish?

Tim: Yes, I suppose I’ve no-one but myself to blame – my sister even got me a Teach Yourself Swedish thing for my birthday last summer and I’ve barely opened it, so damn me and my laziness, because I want more from this.

Cars & Calories – Here

“It’s like Owl City grew up a bit.”

Tim: You may or may not remember the very very good Runner Up from about six weeks back; if you don’t, have a listen to it later. First, though, listen to this.

https://soundcloud.com/blingbling-5/cars-calories-here-1

Tom: Oh blimey, that’s excellent. It’s like Owl City grew up a bit.

Tim: Here, we’re getting more of the same punk/rock-influenced electropop that we heard last time – the vocals could come from any modern electro track, but then some of the instrumentation in the chorus could be a late-90s punk group.

Tom: Agreed: and it’s a brilliant tune as well.

Tim: It’s a combination that, once again, works brilliantly. Lyrics are happily pleasant as well, so all round I’ve got no reason at all to dislike it. Top work, folks.

One Louder – Fashionably Late

“I can’t help but think that we’re in the middle of a 90s ballad revival.”

Tim: This arrived in our inbox last week; it’s a new pop duo from Finland comprising Leah and Johanna. I’d like to tell you more, but the Facebook page is low on details. But have a listen, as the music’s what it’s all about really.

Tim: This is lovely stuff, and is sort of reminiscent of all sorts of things.

Tom: Between this and the duet on Tuesday, I can’t help but think that we’re suddenly in the middle of a 90s ballad revival. I mean, this could’ve been a B*Witched album track. What does it remind you of?

Tim: Nothing in particular, although I’m struck by a slight similarity to Minnie-Oh, of Step Up and You & I notability, at the beginning of the chorus; that’s definitely a compliment, because those were two of the best tracks we had in their respective years so good stuff there.

Tom: It is, but it’s good to the standards of fifteen years ago, and I can’t help but feel that it needs something… more. Can I work out what that is, though? Can I bollocks.

Tim: To be honest, I don’t think I can criticise this at all – the backing music’s lovely and relaxing during the verses, but entirely not in a boring way, and the vocals match up excellently for a nice tune that, when it comes down to it, is basically just good pop.

Jill Johnson & Helena Paparizou – Enough

“It’s like the 90s returned, and Shania Twain’s still at the top.”

Tom: “Jill Johnson and Papa Lazarou”?

Tim: Close, but no creepy-voiced cigar I’m afraid. Jill Johnson, if you don’t know, is a Swedish singer who’s been going for nigh on two decades, and who in true Rihanna style has released an album pretty much every autumn for the past ten years, as has invariably landed in the top 5. This time it’s all about duets, and the lead single is with Helena, who I’m sure you’ll remember from her 2005 Greek Eurovision entry we wrote about a couple of years back.

Tim: That’s a good ballad, isn’t it?

Tom: It’s like the 90s returned, and Shania Twain’s still at the top of the charts.

Tim: Great overtones of it, yes. Now I think about it, it’s been a good year for duets, or at least the ones we’ve had have all hit the mark – Cardle & C, Fältzkog & Barlow (and that’s a department store chain in waiting) and now this.

Tom: Complete with cracking key change and electric guitar outro. It really is about fifteen years too late.

Tim: It could easily be sung as a solo track, and it would still be impressive, but the two working together really work up the drama of what a twat this guy they’re both dating must be – I don’t know if it is the same guy, but it would certainly explain why he’s always ‘working late’.

Tom: Ha. That’s a brilliant idea.

Tim: Actually, playing with that idea as I am wont to do, I know exactly how I’d like the video for this to be – two of them walking separately along two streets, cutting between them as they sing with occasional shots of him waiting outside a restaurant for a date, and then, come the key change, they both arrive from opposite directions, we have the three of them in the same shot and IT ALL KICKS OFF. That’d be marvellous.

Tom: Ideally, with the music coming to a grinding stop, and the man trying to stumble through some sort of explanation.

Tim: Exactly. Can we do that, please?

Robin – Erilaiset

“That’s a decent enough charity track, isn’t it.”

Tim: You do, I presume, remember ‘BOOM KAH! BOOM BOOM KAH!” Here’s the follow-up, which is actually the Red Nose Day single in Finland, but they’ve chosen to make no mention whatsoever of that on the YouTube page.

Tom: Finnish Red Nose Day, of course, is whenever the temperature dips below -20°C in Oulu.

Tim: Nicely played, sir. Here’s the track.

Tim: That’s a decent enough charity track, isn’t it.

Tom: It is: it’s certainly better than some of the dreck we’ve had before. It’s certainly better than One Direction covering Teenage Kicks.

Tim: Well, duh. What I particularly like, and what may well not work if I spoke Finnish, is the way it almost goes into the chorus thirty seconds in, but then drops back out for the rest of the verse before the main chorus comes in bigger and better than what you originally thought it would be.

Tom: Yep, I was going to point that out too. It’s a good shtick, and I can see that becoming a Thing.

Tim: Aside from that, actually, it’s somewhat average as far as pop songs go, but it does have a slightly ‘urban’ edge to it in the intro and outro which is probably a good thing as far as his future intentions go so well done there. Also, half an hour on from writing everything previous to this, I’ve clicked replay on it every time it’s finished, so it’s clearly listenable. GOOD WORK CHARITY.