Saturday Reject: Bianca – Shine A Little Light

“Iit would have made a fairly decent Leona track”

Tim: The other British one that was better that Joe & Jake’s, and in fact co-written by Leona Lewis – whether it was specifically commissioned for Eurovision or just one she wrote a while back but didn’t want for herself has yet to be revealed.

Tom: I wasn’t convinced by this at the start, but blimey: that’s not bad.

Tim: And it would have made a fairly decent Leona track, as indeed it made a decent song for Bianca [Surname Unknown] to perform. Commercial success in Britain? Right now, probably not – there’s a reason Leona’s busy writing and not singing – but I reckon this has massive cross-country appeal, and could have done very well for us.

Tom: It’s true that the field is going to be crowded with Zelmerlikes this year, and a strong female power ballad will probably do well. That middle eight’s lovely too — and for once, the vocal mix actually works.

Tim: Big melody, great vocals, hefty chorus, nice arty decoration at the back, and it has a title about shining light, so what’s not to like? It got the biggest cheers in the audience, the most lavishly heaped praise from the panel, just sadly not the highest amount of votes. Joe & Jake: it’s all on you.

Years & Years feat. Tove Lo – Desire

“Here, kneel in this gymasium while a load of people fondle you.”

Tim: Desire, the first track they had that was fairly successful, and the last one they had before ‘getting big’; now, they’re revisiting it for a bit of extra cash and getting Tove on board to do some of the vocal work.

Tim: And I think that video conclusively answers the “is it desire or is it love” question posed by the lyrics, because basically everybody wants to get off with everybody else, which is fine by me as long as they don’t immediately kidnap just anybody who happens to be lying in an empty car park.

Tom: “Here, kneel in this gymasium while a load of people fondle you.” And why is he lying in an empty car park, by the way?

Tim: He was looking at his phone and has just realised what a terrible haircut he’s just had, maybe? Musically, is a re-release justified, and does Tove’s presence make redoing this one acceptable instead of getting on and writing new stuff? Hmm, maaaaybe. It’s an enjoyable track, but then so was the first one.

Tom: As ever, I can’t remember the first one, so seeing it just on its merits: this is a pretty good song. Little bit of tropical-house in there, of course, because it’s 2016 and everyone’s doing that, but yes: this is good. And Tove’s presence is justified entirely by that middle eight.

Tim: On the other hand, you do have to keep people interested in between albums (LOOKING AT YOU SOUND OF ARROWS), and I suppose it’s better than just a plain reissue. I am, ooh, about 60% in favour of this, because yes, that is what it deserves.

Benjamin – Body

“Good chorus. Can’t remember any of it afterwards.”

Tim: Since we’ve currently got two Scandinavian Benjamins coming out with dance music, I’ll clarify: more notably and recently there is Benjamin Ingrosso, cousin of proper Ingrosso and full on Swedish. This is Benjamin who has ditched his surname (Feltonen, incidentally) and is half-Finnish, half-Swedish. And has this as his new one.

Tim: Which is admittedly a tad generic, and coming out a good couple of months before anybody is really likely to be up for listening, but on the plus side contains a good chorus and a well-produced lyric video.

Tom: Good chorus. Can’t remember any of it afterwards, though.

Tim: The focus on the body and nothing else does put me in mind of of Sean Kingston/Pit Bull/that lot style song, which is a bit annoying, especially because stylistically it’s not that far away.

Tom: That’s true: replace that guitar-led middle eight with a rap bit “feat. Pitbull” and it’d improve a few places in the charts.

Tim: May be sacrilege to say this, but it might even improve the track. Nonetheless, that ayayayaya bit is decent enough I’ll pretty much forgive that. It’s okay, but let’s have a bit more effort next time, yeah?

Mavrick – Funeral

“I was properly confused by that.”

Tim: From Sweden, Mavrick brings up this, his second single, so have a listen, it’s only polite.

Tim: And that’s certainly a track that wants your attention, even if it is just to get annoyed at the “I can’t respond it properly” line.

Tom: Here’s something I don’t often say, Tim: I was properly confused by that. Things seemed to come in half a beat early or late, with no warning at all. I had to listen to it twice, and then I think I got it.

Tim: I’m glad. The “same thing over and over” lyric is quite appropriate, given that it has possibly the longest set of repeating lyrics I’ve seen —

Tom: Try this.

Tim: Yep, I guess that might clinch it — but that’s not necessarily a bad thing, as long as the music’s good enough, which I think it is here. The chorus is very enjoyable, right from the “it all makes a little more sense” lead in, and what follows from there with the backing vocals I love.

Tom: Agreed: once I worked out what was going on, I really enjoyed this.

Tim: All in: wouldn’t mind some extra lyrics, but I’ll allow it this time.

Stealth – Judgement Day

“So much more intensive and dramatic”

Tim: DRAMA, quite literally in this case as it first got its outing on TV show Suits, but here you go. The accompanying blurb promise “blistering rapture” and “sombre apocalyptic honesty”, and that’s always fun so have a listen.

Tom: TAKE ME TO CHURCH

Tim: Oh, yes, that’s the one it was reminding me slightly of.

Tom: No, seriously, I basically yelled that as he went into the chorus.

Tim: Hmm – well, beyond that and as far as living up to the PR goes, I suppose it is quite sombre, and rapture and apocalypse both go hand in hand with judgement, and honesty comes along in the chorus lyrics; all we’re missing is blistering, and I’ve no idea what that might mean to describe a rapture, so let’s give it full marks on that count.

Tom: Which is probably why it sounded so similar to me: religious stylings, similar vocal quality and tempo.

Tim: Ignoring all that, though – how is it as a track? Well, along with Hozier, strong James Bay stylings are what immediately leap to mind, but so much more intensive and dramatic, and to be honest, I love that. It’s loud, it’s heavy, it’s basically all the synonyms you can think of, and the vocal especially – the emotion that comes through with his voice is just spot on.

Tom: Yep. And my only criticism of the original “Take Me To Church” was that it’s overplayed and I got tired of it: this is a pretty good replacement.

Tim: Great track, as long as you’re not in the mood for happiness.

Ola Salo & Peter Jöback – Sing Me Out

“Two great vocalists harmonising.”

Tim: This was one of the interval performances on Saturday’s Andra Chansen; I’ve no idea if it’s going to get a proper release, but it does seem a bit of a waste if not, particular with a number of people hoping it could be voted through to the final as well.

Tom: Oh, that’s excellent! Two great vocalists harmonising, some good black-and-white styling, and even a couple of gurning-into-the-steadicam shots. That’s a really good song, too.

Tim: Ola Salo, of course is best known as the lead singer of glam rock band (and former Eurovision representatives) The Ark; Peter is less well known, working as he mostly does with musical theatre, though he did compete in Melodifestivalen back in 2011. ANYWAY, I don’t know if it was just that this was a rock-oriented track coming after eight pure pop tracks in a row, but this sounded great.

Tom: It does sound great. That chorus! That astonishingly good middle eight! Trim it to three minutes, this could have been a really good Eurovision contender.

Tim: The glam rock stylings look fantastic as well, and that backing vocal line that comes in towards the end just bring it all in to create a perfect ending to a great track.

Saturday Reject: Karl William Lund – Miracle

“Talk about a seriously missed opportunity here.”

Tim: EXCITING MOMENT HERE, as for the first time we have some BRITISH rejects to sort through! Let’s start with this, one of the two that were quite a bit better than Joe & Jake.

Tim: BLOODY HELL I had to break eye contact with the screen during that intro. That is quite the look he’s got going on there.

Tim: Yes, so let’s talk about that; in fact, the look of everything. Because you’ve got yourself a nice dance track, with a hefty beat (if you replaced all the choruses with the final one, but that’s a niggle) and a great “oh-oh-ohh” structure to your chorus that people can chant along with.

Tom: Top-quality vocals as well: he’s hitting every note near-perfectly.

Tim: Right – the song is excellent. But what do you get the performer actually doing? Standing stock still in the middle of stage looking like he’s stopped off on his way home from work. ARE YOU SHITTING ME? Christ on a bike, talk about a seriously missed opportunity here.

Tom: Agreed. And I hear what you said earlier this week about the vocals sounding weedy on television: whoever did the mix for this shouldn’t be let anywhere near an event like this again. Broadway concerts? Sure. The Proms? Yeah, maybe. But pop music? That’s not how you mix it!

Tim: What we should have here – well, NEED – along with a proper sound mix, is all the lights on, him wearing something along the lines of what Måns was wearing last year, and moving and jumping around to get everybody enthused. Just one of those three would have helped – instead, you’re wearing a bloody tie pin. WHAT A SILLY BILLY.

Sigala feat. Imani and DJ Fresh – Say You Do

“A pretty damn good followup.”

Tom: Sigala. Not to be confused with Sigma. Previously produced an absolutely brilliant cover of the Jackson 5. This time: paired up with a singer called Imani and the needs-no-introduction DJ Fresh.

Tom: Well, it’s not quite the instant-recognition floor-filler that we’ve had before, but it’s a pretty damn good followup.

Tim: Yeah – it’s certainly got a lovely swaying side to side at my desk chorus to it, which I’m very keen on.

Tom: Same tropical-house style with percussion that’s clearly in DJ Fresh’s style over the top of it. It feels almost routine: but it’s a very, very good routine.

Tim: It is indeed – very enjoyable, and while it might not be quite as good as the debut, it’s more than enough to keep the brand going. BRING ON THE SUMMER, I say, just as snow begins to descend on most of the nation.

Tom: Put this in the middle of a DJ set, and no-one’s going to be unhappy.

WDL feat. Make – Hurricane Highlife

“Lost track of the structure of this song.”

Tim: This is… interesting. Yeah, that’s a decent way to introduce it.

Tim: There are bits that I really quite like, such as the choruses, and the outro; there are bits that I don’t like, like the intro to the first chorus and that part where the middle eight would go if this had much semblance of a structure; there are parts I’m indifferent to, like the intro, and the second verse.

Tom: I’ll be honest, I lost track of the structure of your sentence there — although I’d say the intro to that first chorus is brilliant. Which is apt, because I also lost track of the structure of this song.

Tim: It’s weird – there’s very little structure to the song. It took me a couple of listens to realise that there is no verse/chorus, as the lyrics are just one half repeated, and beyond the singular melody there’s not much unifying it – there seems to be a case of just turning up at the studio and winging it, thinking “yeah, let’s chuck that in there”. And I’m not sure if it works.

Tom: I expected not to like it at all: and then the string samples kicked in. And then I realised this is a really good soundtrack: I’m not sure what it’s a soundtrack to, but it’s a good one.

Tim: For me, at least, there’s enough I don’t like that I don’t want to keep listening to it, despite my liking a lot of it. Hmm.

Hanne Leland – Keep On Movin

“When that chorus hits there’s just nothing to be faulted whatsoever.”

Tim: It saddens me to tell you that Hanne has not chosen to cover the Five classic; it pleases me to tell you that actually, this might be even better.

Tom: Really? That’s a bold claim.

Tim: Because what a fantastic piece of pop music that really is. The production is absolutely spot on, just as it should be.

Tom: Yep, can’t fault that. Better than the Five classic, though? Definitely not. What stands out for you?

Tim: Those slightly breathy vocals are excellent from the off, and when that chorus hits there’s just nothing to be faulted whatsoever. The post-chorus continues that run of triumph, with a song that all in all is just superb.

Tom: I can’t disagree with anything you say there — but I think the song itself, the melody and lyrics, just aren’t all that much to write home about. Now if it was produced this well, and also a cover of Five? Then I’d join you.

Tim: And I’d be even more excited. I know I do often get overexcited by tracks and sometimes that’s not entirely justified, but here, I think it’s entirely appropriate.