Saturday Reject: Ditte Marie – Riot

“Every single anthemic component you’d want for a good proper actual riot.”

Tim: Ditte’s here for Denmark, and apparently she’s none too keen on being separated from her bae.

Tim: Slightly weird lyrics, really, because unless one of them’s going to prison or there’s some sort of Montague-Capulet situation going on, I don’t quite see how this situation might crop up in the future, but never mind that, let’s judge the music.

Tom: This is giving me very weird feeling: I am simultaneously sure I’ve heard this before, and sure that I haven’t. It’s like the textbook Melodifestivalen track, like someone’s chucked every vaguely-anthemic Swedish track there’s ever been into a blender and just gone, yeah, okay, that’ll do.

Tim: You’re not too far off, there, and I had a similar feeling. Though, while a “that’ll do” attitude normally results in a bit of a stinker, given the right ingredients what it gives here is, let’s be frank, a BANGER. Hell of a chorus, which like you said has every single anthemic component you’d want for a good proper actual riot, so full points there.

Tom: I mean, yes, it manages that. If I can get over the weird sense of not-quite-deja-vu, I can see what it’s trying for.

Tim: Backing dancers in military outfits also add bonus points, though at this point I’m starting to worry she’s a little over-prepared, and kind of think she might just have beef with society in general. Still, even if that is the case she certainly gets her point across. Criticisms, well, that return from the middle eight goes on twice as long as it really needs to, and I certainly wouldn’t begrudge them a key change there, passé as it may be. Otherwise, like I said: BANGING.

Saturday Reject: Ditte Marie – Overflow

From Dansk Melodi Grand Prix, we’re left with precisely one to discuss.

Tim: Last year, Dansk Melodi Grand Prix was so good we devoted a whole week to it. This year, they can be split roughly into two groups: five that were utter cack, and five middling to good ones. Of those five, one got disqualified, one won the contest and two others have had their performance videos pulled off YouTube. All of that goes together and leaves us with precisely one to discuss. This one, to be precise.

Tom: On a side note: YouTube voting wouldn’t be too bad a metric for Eurovision success. It’s difficult to game, because you need a working Google Account in order to get it working – and there’s a dislike button, too. I should do some maths about that. Not right now, though. Let’s discuss this song.

Tim: And it’s not a bad one to discuss. It’s not amazing, but it does have some excellent long notes, with a particularly long one being followed up by a not-too overstated key change, some nice up-and-down synth bits under the verses, and a couple of rather long legs.

Tom: I can confirm that I noticed all of those things.

Tim: That figures. The big screen at the back is also used well (and in time with the beat, which is a bonus), and the drummers keep themselves to themselves so there’s no distraction there. Really, I can see only two reasons for her not getting through: firstly, you NEVER break from the song to chat to the audience. You only need to look at Jimi Constantine to see where that can lead. What’s he done since then? NOTHING, that’s what.

Tom: I checked that allegation with Wikipedia, and I pronounce it “probably correct”.

Tim: Oh, please, I’m always correct. And secondly, voters clearly don’t like product placement. In the first and last chorus, the second line is clearly ‘baby you’re my one and only remedy’. But in the second chorus, I’d swear she’s singing ‘baby you’re my one and only Benylin’, and that’s just not on.

Tom: Well, she does seem a bit chesty. HIYOOOOO.*