Anna Lidman – Jacob

“An unfortunate coincidence.”

Tim: Anna has previously competed at Melodifestivalen as part of group EKO; now she’s heading solo, though, and here’s her debut, which I’m hoping will help out a bit with your mediocre-itis.

Tom: “Hello. It’s me. I was wondering if after all these years…”

Tim: Well, indeed – I don’t know when this was written, or recorded, but it strikes me as being a very Hello style song.

Tom: Agreed: if it had come out a few months later I’d claim it was a ripoff, but as it is it’s just an unfortunate coincidence.

Tim: Vocals in the verse quite modest and slow, with an instrumental underlay just about peeking its head up every now and again, giving way to a chorus that wants to get you sitting up to pay attention. Does it achieve that? For me, yes – there’s enough of a difference between the two that you can’t really fail to notice it.

Tom: I did actually perk up. It’s an odd, and Biblical, name to choose for a song like this — and the organ (synth?) and choir that pop up in the background understore that. In fact, it’s a bit strange to have a name here at all. It does sort of work, but it also sounds a bit like a rejected song from Jesus Christ Superstar.

Tim: Lyrically, perhaps, though to be honest I’m having a hard time identifying a good majority of them anyway with her vocal style. Musically with the chorus, though, there’s still very much the downbeat element, but it needs and wants to be heard above the verses, and it succeeds in a very good way.

Tom: Yep: it’s doing something different, and I can respect that.

Jesper Jenset – Never Coming Back

“I think I’ve caught some kind of mediocre-itis, Tim”

Tim: This is this guy’s second song; I won’t remind you what you said last time, as I don’t want to unduly influence you; put simply, it’s more of the same.

Tom: You’re right: it’s more of the same. At least it doesn’t sound like Train this time.

I think I’ve caught some kind of mediocre-itis, Tim. But all the songs we’ve been talking about lately have left almost no impression on me. They’re just… more of the same. Wait, is that what you meant?

Tim: Well, typically when you describes music as “more of the same”, you generally mean stylistically, that they’d play well next to each other. Here, though, they’re ACTUALLY IDENTICAL well not quite but still, check out the chorus of Superhero and then compare it with this one, and then tell me it doesn’t get you bouncing in your chair in exactly the same way.

Tom: It really doesn’t. Superhero charmed me, even despite its tweeness; I knew that if I kept listening to it, it’d get stuck in my head. This doesn’t have that same style to it: why do you think it’s identical?

Tim: It’s the chorus, mainly: the lead in there is the same with the “and we sang…” and “if not I’m…”, the post-chorus is there in exactly the same chanting fashion. Just too many similarities for me not to notice it.

Tom: Hmm. Well, yes, but I don’t think they’re that close in style. And perhaps I’m being a bit too dark: I’ll grant you the middle eight, and the run into the final chorus, is pretty good — but if the best I can say for the song is that “the bit that sounds different is okay”, then it doesn’t speak well for the song.

Tim: I almost feel cheated, and in fact I definitely would if it wasn’t for the fact that it’s just SO FREAKING CATCHY, and that my overriding thought is that I HATE THAT I LIKE THIS UTTERLY TWEE NONSENSE. DAMMIT.

Tom: Just develop a harsh, cynical armour that means you have a ludicrously high standard for pop songs.

Tim: Yeah, but that doesn’t sound as much fun.

Apollo 5 – Famous

“They should have dressed up as chickens.”

Tim: I feel like I write this at least every six, but: new Swedish boyband for you.

Tom: With a name that’s not googlable at the moment. They should have dressed up as chickens instead and called it… Pollo 5.

Tim: I feel I should do something violent with my hands…it’s either clap or slap, I’m not sure which.

But as ever, we’ll save the names for if and when the second track arrives, because there’s no point putting effort in unnecessarily, but here’s the debut track for now.

Tim: Though despite all my snark at the top, this is a perfectly decent track to launch a career off.

Tom: Mm. The thing is “perfectly decent” isn’t enough. McFly had 5 Colours; One Direction had What Makes You Beautiful. This isn’t in that league. This isn’t anywhere near that league. This is barely playing three leagues down — well, you know, that metaphor’s gone far enough now.

That said: these guys appear to be using the modern “slow launch on YouTube” approach, rather than the “splashy first single and marketing” approach, so who knows?

Tim: There’s not that much interesting to be said about it, to be honest – standard verse, decent chorus, happy fare at the end with optimism throughout.

Tom: Whoa, optimism? We got a completely different feeling off the track. This sounds melancholy and lonely to me: it’s a post-breakup song with an air of “screw you” to it.

Tim: Oh, yes, it has a massive air of “screw you”, but it’s an air given from a higher place, looking down with an almost gloating “I’m amazing, sucks to be you” vibe, especially with that “I know, I know, I know, I know, you’ll never do better” line. It’s an incredibly harsh and dickish form of optimism, but it’s definitely there.

And an album of this calibre would be entirely welcome. Let’s hope I do get to introduce them properly.

Benjamin Ingrosso – Crystal Clear

“I am… not sold on that. Not even close.”

Tim: When we looked at his debut last month, you stated that “he’s either got an exceptional ability for switching between notes accurately and instantly, or there’s a bit too much autotune on here”. Today, we find out which it was.

Tom: Is it autotune? I bet it’s autotune.

Tom: CALLED IT.

Tim: Well, yes. But despite the vocal coming straight out of a 2009 R&B track, I still really like it, mostly because of absolutely everything else.

Tom: I am… not sold on that. Not even close. The best I can say about it is that the synth in the middle eight’s interesting. What stands out for you?

Tim: The melody, the string line that pops in every now and again, the heavy beat, the vocals that don’t have the auto-tune on them (and sometimes the ones with it)…just, all of it, really. Much like last time – it’s all good (as long as you don’t count that bits that aren’t good).

Tom: And my reaction’s much the same as last time. It’s competent, sure, and the production’s graet — it’s just that the composition’s a bit poor. But, as we said, before, I’m a bit more cynical than you.

Sigala – Easy Love

“It’s unpretentious, it’s simple, and it’s amazingly fun.”

Tom: I know I’m a little late to the party on this one, but it’s still current enough to be getting airplay everywhere. And I absolutely love it.

Tim: Good, because you should.

Tom: This is an amazing remix. It’s unpretentious, it’s simple, and it’s amazingly fun. Remind you of anything?

Tim: A few things, but I’m guessing you’ve got something particular in mind?

Tom: Take the catchy bit from a popular song, speed it up a bit, add some new instrumentation and a strong beat behind it. Heck, if it had someone shouting over it in a German accent, this could almost be Scooter.

Tim: Well…

Tom: Okay, maybe Scooter feat Kygo. Which, incidentally, would be INCREDIBLE too now I think of it.

Tim: Yes. Yes, that’d be a whole of wonderful. Let’s MAKE IT HAPPEN. Somehow. I don’t know.

Saturday Flashback: Denis Maidan and the Bayan Mix – We’re The Same Blood

“I got into a fit of giggles”

Tim: Okay so here’s the thing. I’ve absolutely no idea why, but when I’d finished watching the Hurts video that we featured on Tuesday, one of the suggested videos that popped up was a 75 minute collection of a load of Russian pop songs. I clicked on it, because why not, and this was the first of them.

Tom: I’m going to call them “Discount Vin Diesel and the Dads”.

Tim: Probably a valid translation. Now, as I write this I’m still on a bit odd a high after yelling out that Hurts chorus at the top of my lungs and so when this started playing I got into a fit of giggles – looking at it objectively and seriously I may find it ridiculous or just plain terrible, but I’m fairly sure it’s more along the lines of a fairly decent eastern European Eurovision entry, and right now I’m really rather enjoying it.

Tom: That’s a Proper Russian Singing Voice there: not much more I can say about that. It’s… well, it’s not going to get on my playlist, but I can see why it startled you into listening.

Tim: Background info, should you wish to know more: Denis Maidan (or alternatively Денис Майданов), for his part, is apparently a fairly prolific composer and songwriter; Bayan Mix (Баян Микс) are a duo of two guys called Voytenko and Khramkov, and are responsible for the accordions. Stuff’s all on YouTube, and I may well find myself seeking out more of it at a later date; in the meantime, on with the remaining 72 minutes!

Justin Bieber – Sorry

“I suspect his PR machine’s worked better on you than it has on me.”

Tom: Oh crikey, is this the Apology Track off the Apology Album?

Tim: Well, look. Now, I detest the entire concept of guilty pleasures. As far as I’m concerned, people should be free to like whatever the hell they like and not care what other people think. Nonetheless, I am JUDGING MYSELF and I DO NOT LIKE ME for really, really liking this song.

Tom: A video that doesn’t star him. That’s an interesting choice, certainly. Why do you like it, so much?

Tim: It’s a number of things, really: partly it’s the “oo-oo-oo-oo-o-ooh” in the background that just won’t leave my head; partly it’s the catchy, melodic and memorable chorus; it may also be that I’ve recently started thinking of him a whole lot more favourably after reading this i-D interview and watching his Carpool Karaoke.

Tom: People do change, that’s true: perhaps he has grown up.

Tim: I was never a Bieber-hater, mind—much as he was a total bellend for a good amount of time, who wouldn’t be after the controlled and manufactured teenage life he had?—but suddenly I think of him as an actual person, and now this song has some emotional depth to it. Is it just that I’ve heard it so much that it’s penetrated my head and won’t leave? Possibly, but I think it’s more that’s a really good song, really well-performed.

Tom: Hmm. It’s okay, I guess? But I suspect his PR machine’s worked better on you than it has on me: yes, that oo-oo-ooh is good, but I just don’t find it all that catchy. It’s not together enough, it’s not “full” enough, it’s not… enough. Just like the apology, I guess.

Tim: Basically, in summation: I don’t like the genre, I’ve not liked any of his previous tracks, but dammit, I really, really like this.

Erik Rapp – Louder

“It’s not exactly all that loud, is it?”

Tom: Erik Rapp? Brilliant name.

Tim: Isn’t it just? He was a contestant on Swedish Idol 2013 who has chosen this year to make it big, hoping that this will help him on the way.

Tim: And I certainly don’t think that’ll hinder him, being as it is a very competent piece of dance pop.

Tom: It’s is, but for something that has “louder” in the title, it’s not exactly all that loud, is it? I’d have scarcely noticed that first chorus if it wasn’t for the weird door-creak in front of it. Come on, put some oomph into it, even if it is only at the start.

Tim: Fair, but there are still good bits: I’m a particular fan of the return from the middle eight, which does an excellent job of sounding like a key change, even though it technically isn’t,and all the rest of it is perfectly enjoyable as well. Keep them coming, I’ll say, and you could end up being fairly successful (which probably sounds less of a compliment than it’s meant to, but there you go).

Mariette – The Next Generation Calls

“I’m tempted to call this a bit of a waste.”

Tom: “Hello? Oh, hi Captain Picard, how’s it going?” No?

Tim: No. Instead, Tom, we have a Song With A Message. It a companion song to the Children’s Climate Conference, which is apparently a thing, where kids who don’t have faith in the grown-ups in Paris next month are going “to have their own climate conference, and put pressure on the world’s adults.” Yep.

Tom: Or in other words, do absolutely nothing but get some good PR for someone and have something on the CV.

Tim: Yeah, sounds about right Also, advance warning for you: kids backing choir in the chorus.

Tim: And the thing is, regardless of how sickening (albeit theoretically admirable) that intro spiel was: I quite like this song. Take away the kids, alter the lyrics so they’re not so patronising, and we could really have a decent tune on our hands.

Tom: Hmm. There are some interesting bits in there (that glissando on “calls”, for one). Yep, given a bit of a makeover, perhaps this could be OK.

Tim: I’m tempted, then, to call this a bit of a waste. Sure, a charity single is worthwhile and all that, but when a song has so much potential but is dragged down by self-imposed necessities, it’s a real shame.

Tom: And by a kids’ choir. Seriously, there’s no need.

Hurts – Wings

“Oh my.”

Tim: New one up from the very excellent Surrender album; music kicks off fifty seconds in if you don’t want any faff.

Tom: Oh my.

Tim: Well, indeed. Query: do people do campaigns for artists to do James Bond songs? I know we’ve only just had the last one, but assuming Hurts are still on in a few years’ time can we get them doing it please? Because this music is just so, so powerful, and when you think of the possibilities that are just so much more than the wanky tripe that Sam Smith brought out, it saddens me that their only cinematic exposure was in a German film from 2013.

Tom: You know, I think it’s the percussion that makes this stands out. Yes, those piano chords in the middle eight are just beautiful; yes, the vocals are excellent as ever. But there’s something done really well in the production here: something that makes that really simple bass-and-clap pattern into the bedrock of everything that’s in here.

Tim: Lyrically, that chorus just conjures up some beautiful images, even if it isn’t particularly subtle and doesn’t really match up with the video in any way at all, and it just one that after hearing a couple of times I just want to sing out very, very loudly. Musically, well, like I’ve said, it’s about the power. It’s exactly as strong as what we’ve come to expect from Hurts – perhaps even more so – and I’m just so, so happy they went back to the sound of their first album for this one. It’s just glorious, all over.

Tom: Especially that final chorus.