Today's interesting Twitter moment came from Sarah Dawn Finer, who mentioned that her original 2002 demo of "Not A Sinner Nor A Saint" would appear on the (amazing) upcoming Melodifestival boxset documenting the past ten year's of the contest.
Sarah's comment left me hitting my head against the wall--how had I not realized that was her singing on this demo for all these years? Obviously Alcazar's version is definitive and the way to be introduced to the song--it's a Melodifestival classic in their disco interpretation--but it's always nice to get these "peaking behind the music industry door" moments.
For anyone who hasn't heard it, here's Alcazar performing the song in Melodifestivalen 2003. It's the first version of "Not A Sinner Nor A Saint" anyone not in the music industry heard and the change from the original demo is stunning...and for the better, much as I love Sarah (though that has much to do with the arrangement and production).
I'm excited to hear what other demos will appear in the boxset. Dare to dream of the 99% impossibility of Måns's version of "Hero" showing up...
Back when the idea of Xenomania Records still seemed like the most exciting prospect in pop--before all the interesting artists we heard about had disappeared into the mists of potential popstars lost in "development," disappointing songs, or terminated record deals--American singer Jessie Malakouti teased us with at least two fantastic songs, the straight-up pop-dance of "Standing Up For The Lonely" and the slightly more melancholic "Who's That Man."
Jessie's time with Xenomania wasn't her first appearance in the music world. She'd earlier been a member of the pop-rock-hip hop girl group Shut Up Stella and shared songs like "If U Seek Amy" predecessor "Trash Me" (written by the Larsson/Franson/Lundgren Örebro gang) on her MySpace. Still, it wasn't until the Xenomania polish that she really started to--well, not quite shine yet, but show hints of shimmer.
Unfortunately, her proper debut single "Standing Up For The Lonely" was never released and she and the British songwriting collective parted ways. I expected a quick drop-off in song caliber, but if anything, her latest project has the highest quality rate yet. As the only real person in Jessie and the Toy Boys--she's backed up by several mannequins--Jessie seems to be finally hitting her stride with an attitude-prone electro-pop sound.
I've written about "Hitman" and its addictive chorus before. The triumphant "Key To The City" is even better, perhaps her best song yet, while "Like You Better" and "The Radio's Talking To Me" both have their own cheeky charm.
"Perfect Shade Of Red" certainly belongs in the top two or three songs from this Jessie era. Finding a middle ground between the spikier, spunkier sound of the Toy Boys and the pretty mid-tempo longing of "Who's That Man," "Perfect Shade Of Red" is pretty much all I want out of pop at this point in time. Its well-written earworm of a chorus is supported by equally strong verses and a perfectly balanced mix of synth stabs and washes, with Jessie holding the whole thing together with popstar presence. If some of Jessie's other songs have seemed too try-hard youthful for you, "Perfect Shade Of Red" might be the song to win you over.
Jessie and the Toy Boys are off to a running start. Let's just hope this particular Jessie Malakouti project makes it further than Shut Up Stella, her first solo attempt, or her second Xenomania-backed try.
There are currently no Jessie and the Toy Boys songs available to purchase, but I believe "Push It" to be on sale soon. In the meantime, you can buy several of Jessie's older songs on iTunes.
A tradition half-abandoned last year makes its quiet return two days (or two days and one week) late: a preview of this coming weekend's Melodifestival semifinal. As always, I have absolutely no inside information, so I am incredibly indebted to the below mentioned websites; all of my information about this year's entries comes from them.
Brolle, "Seven Days and Seven Nights"(Brolle) Former Popstars contestant Brolle carved out a successful niche for himself in the first half of the '00s with his Elvis style. His latest songs haven't had the staying power of early hits like "Playing With Fire," though, which may have finally brought him to Melodifestivalen. Brolle describes his self-penned ballad as a tribute to love and the way the members of a couple fight but then work together to make the relationship work. It is, he elaborates, a mix between old Brolle, new Brolle, and rockabilly.
To watch: though I think his third album contains some underrated tracks and even liked the Billy Idol-flavored single from his greatest hits, the description of "Seven Days and Seven Nights" makes me think "Playing With Fire" from his first album might be more representative.
Loreen, "My Heart Is Refusing Me"(Moh Denebi/Björn Djupström/Lorén Talhaoui) A 2004 Idol contestant turned television host, Loreen describes her song as "as far from schlager as you can get." She's elaborated by saying "My Heart Is Refusing Me," a dramatic, emotional, string-filled ballad with a lot of pain, represents the intersection of electronic and organic. Loreen is signed to a new record label run by Måns Zelmerlöw and the two co-writers of Loreen's song. Speaking of the songwriters, I'd characterize these three as "working men" songwriters, for lack of a better phrase--they've had songs on albums (and in Melodifestivalen), but they're not big names. That's meant as no slight, though, since that's how most writers come up through the ranks.
To watch listen: the best I've got is her 2004 featured vocalist appearance on Rob n Raz's single "The Snake"
Babsan, "Ge mig en spanjor" (Larry Forsberg/Sven-Inge Sjöberg/Lennart Wastesson) Fittingly for the first drag queen performed-entry in Melodifestivalen since After Dark twice graced the stage, "Ge mig en spanjor" is said to be a mix of "La Dolce Vita" (written by these songwriters, as is Jill Johnson's "Crazy In Love") and "Y viva España" or, alternately, a happy disco-flamenco song. Expect humor in the performance--not that you needed to be told that, given that the song is being sung by Babsan and has a title that translates to "Give Me A Spaniard."
To watch: Babsan performing at Allsång på Skansen
Elisabeth "Bettan" Andreassen, "Vaken i en dröm" (Lars "Dille" Diedricson/Calle Kindbom/Kristian Wejshag) Bettan is a veteran of both national finals and Eurovision at this point, having competed in Melodifestivalen six times and Norway's Melodi Grand Prix five times and making it to Eurovision four out of those eleven tries. She won the whole contest in 1985, performing "La det swinge" as part of Bobbysocks. Dille and Calle are likewise Melodifestival and schlager veterans. They've co-written songs like, in Dille's case, Charlotte Perrelli's "Tusen och en natt" and Linda Bengtzing's "Jag ljuger så bra" and, in Calle's case, Fame's "Give Me Your Love" and Barbados's "Kom hem." Kristian debuted in the contest with Jessica Andersson's "I Did It For Love," co-writen with Calle, and since "Vaken i en dröm" is said to be a ballad, that entry might be an indicator of what to expect.
To watch: since we're expecting a ballad, here's her performance of "I evighet" at Eurovision in 1996. Performing for Norway, Elisabeth took second.
Sanna Nielsen, "I'm In Love" (Bobby Ljunggren/Thomas G:son/Irini Michas/Peter "Bassflow" Boström) Power vocalist Sanna, a young Celine Dion in the making, returns to Melodifestivalen for the sixth time. As the public vote-winning but ultimately second-placed contestant in 2008 with "Empty Room," Sanna's entry this year will be much anticipated. With five previous entries, Sanna has basically covered the schlager spectrum of tempos; this time, she returns not with a ballad but with an up-tempo, upbeat song. She says it begins mysteriously, has a strong chorus, and allows her to show her voice. The song's writers are a conglomeration of big festival names: Bobby and Thomas have created all sorts of generally schlager-flavored entries, Peter makes excellent uptempo pop like Charlotte Perrelli's "Hero" and Ola's big hits, and Irini, the least famous of the bunch, co-wrote Sofia's Greek-pop-rock "Alla."
To watch: Sanna performing the the uptempo schlager song "Våger du våger jag" in Melodifestivalen 2007. Sure, it doesn't show off her voice or make the same impression on the public as "Empty Room," but a.) I never really warmed to "Empty Room" and b.) her entry this year isn't a ballad. The completely lovely "Hela världen för mig" might actually do a better job of making her live vocals sound appealing, though.
The Moniker, "Oh My God!" (Daniel Karlsson) Performing under a stage name, former Idol 2007 participant Daniel Karlsson will sing an entry he describes as a '60s-type song inspired by ABBA, the Beatles, and the Ark in a faster, happier style than he usually uses.
To watch: the music video for his single "Would You Believe?", released under his own name in 2008.
Anniela, "Elektrisk" (Johan Alkenäs/Tim Larsson/Tobias Lundgren/Johan Fransson) "Elektrisk" has been linked to both Linda Bengtzing and Magnus Carlsson, a promising indicator of pop-friendliness, as is the credentials of its songwriters (the makers of Linda Bengtzing's "Alla Flickor" and "Hur svårt kan det va?" and Alcazar's "Alcastar"). Anniela, a young singer looking to break into the Swedish consciousness after the release of her debut album last year, confirms that speculation by calling "Elektrisk" danceable electro-pop.
To watch: there are better songs on her debut album, but none of them have music videos, so here's said album's single, "Strip-teaser."
Christian Walz, "Like Suicide" (Fernando Fuentes/Henrik Janson/Tony Nilsson/Christian Walz) Best known for singles from his second album like "Wonderchild," the somewhat quirky, soulful singer-songwriter makes his first appearance in Melodifestivalen with a song he describes as "a combination of my band and a spaceship." Henrik and Tony have teamed up on songs like Velvet's "The Queen" and Darin's "You're Out Of My Life" (with Tony also writing most of Ola's big hits).
To watch: the music video for "Wonderchild"
I don't dare make predictions about results, but I'm cautiously optimistic about the quality of this week's offerings. I kind of wish Brolle had a few other songwriters backing him up, but given my established weakness for his musical offerings, I expect to be won over nevertheless. Sanna and Anniela's songs should be great (even if Anniela's likely lack of stage experience and name recognition may hurt her performance, I expect it her song to sound great in studio and those particular songwriters always get me excited). I'm a fan of Christian Walz and several of his song's co-writers so, even if they seem like an unusual match, we might get something good from him, too. Getting a great schlager ballad in Melodifestivalen is rare nowadays in my books, so Elisabeth's entry doesn't have me psyched up. Still, one always hopes that institutions like her wouldn't return to the contest without something decent. Daniel's earlier single was quite good, but having heard less material from him, quality-wise he's a wild card. Loreen's song certainly sounds intriguing though I'm not counting on it to translate to the Melodifestival stage. Finally, the songwriters for "Ge mig en spanjor" have shown their skill enough in the past to make me hope there's a song of substance--albeit fun, frothy substance--behind Babsan's performance.
Then again, I'm always cautiously optimistic about the quality Melodifestival semifinals. It's those voting results you have to look out for...
Rapper Nicki Minaj's new single, "Right Through Me," may tone down the playful obscenities of her featuring appearances in favor of continuing the sparkling modern ballad feel of "Your Love," but it matures and improves that template. The excellent if lyrically incongruous chorus hook overshadows the verses' story, an up-and-down relationship that the narrator sometimes sabotages but ultimately wants, with a thoroughly loved-up feel. It remains to be seen whether or not "Right Through Me" will stay just as lovable when subjected to the radio test--this might be the sort of song best played on your iPod--but for now, it's a welcome addition to pop's charm bracelet.
Nicki Minaj's single "Right Through Me" is not yet available for sale, but you can buy her earlier work on iTunes. Her album, Pink Friday, is out this November but is not yet available for preorder.
"You Gave Me Nothing," taken from British producer Mark Ronson's forthcoming album Record Collection, is, to paraphrase Popjustice, the best proper duet I've heard in months. Not that there's been much competition--if we're just talking about balanced duets, not featuring appearances, what else has there been, save Robyn and Snoop Dogg, since, say, spring?
The singers in question are Andrew Wyatt of Miike Snow and Rose Elinor Dougall, formerly of the Pipettes. Andrew's appearance on "You Gave Me Nothing," which might be more intuitively titled "You're Not My Baby," is certainly the most I've ever enjoyed his voice; listening to the Miike Snow album always felt more like an art appreciation exercise than an engaging musical experience, though the seemingly-still-unreleased remix of "The Rabbit" might be the exception to that rule. Maybe it's the added urgency of the gently unsettling dystopian music (yes, a gentle dystopia--the kind where our robotic overlords aren't killing people left and right in the streets but have passed futuristic Alien and Sedition Acts). Maybe it's balancing his voice with an equal amount of Rose, whose indie-beloved solo material I've ignored to date but who here comes across like the next great popstar.
Regardless, the two singers and Mark all bring out the best in each other. The cold fire of Mark's dark electro-meets-band composition, the dismissive anger of Andrew and Rose--how can there be such power in the final product when all parties involved resist the urge to scream and shout at each other? "You're Not My Baby" somehow still manages to radiate icy, ominous fury in the midst of its grown-up hooks. Free of kitsch or self-aware irony, let's hope it and its sheathed-knife electro passion set the template for Mark Ronson's upcoming work with Duran Duran.
"You're Not My Baby" is taken from Mark Ronson & the Business Intl's album Record Collection (which does feature vocals from Duran Duran's Simon Le Bon on the title track), out next week. You can preorder it here (physical).
The lead single from the second album of Sweden's Vincent, the singer of "Miss Blue," co-writer of Danny and Therese's "If Only You," and son of Roger Pontare, is another throwback to the pop-rock of the '60s. In fact, if anything it may play up those influences even more than his previous work.
Vincent has kept the gentle electronic touches of his earlier work, though, which enhances "Baby Hurricane"'s charm. The little electronic riff that opens the song is catchy but in a subdued way; combined with the Beach Boys-style harmonies and a drum part which is prominent and energetic in a functional, modest way, it creates the feeling of a smart, controlled mid-tempo romp.
We're not talking unrestrained exuberance, though. There's a certain joy the participants in an us-against-the-world relationship have, which shows up in "Baby Hurricane," but even if its subjects are willing to throw all caution to the winds, the song doesn't quite go there. It's a summer celebration song, sure, but hints of autumn sneak through.
The unassuming nature of "Baby Hurricane" might mean that it slowly creeps up on you. Creep up on you it will, though--"Baby Hurricane" sounds like the work of a (one-man) band so confident in its own abilities that it doesn't need to show off and instead can just get straight to the business of making something that is honed to greatness.
(On another note, the lyrics certainly have me hoping we'll get a music video.)
Vincent's single "Baby Hurricane" should eventually be able on Swedish iTunes. I'll update this link with more specificity and an international-friendly link should one become available.
Drop what you're doing--the music video for Le Kid's new single "We Should Go Home Together," the most joy-inducing song since Alphabeat's "Fascination," has arrived. Please, please, please watch it--or at least listen.
One of the best songs of the year, no doubt about it. It's amazing how they make "we should go home together" and "oh oh oh oh" sound like the most anthemic things you've heard all month.
According to Oswalds Popcorn, the single will be available for purchase September 27.
Xenomania News pointed out that several songs from Jessie Malakouti's time at Xenomania leaked recently. The best news about this fact? We finally get to hear the full studio recording of "Who's That Man." Though I'd rather have the opportunity to pay for the full quality version, with Jessie moved on to her Jessie and the Toy Boys project, it seemed unlikely we'd ever hear it, making this is something of a relief.
Magnus Carlsson has a new single coming out. It's called "The Best In Me" and is probably produced by Pitchline (based on how much he's worked with them and the fact that it's got a Pitchline remix). The cover can be viewed here, while the tracklist seems to be "The Best In Me," a solo version of "Crying At The Discotheque" (eek), "Feel You (Ruff & Jam Radio Edit)," and an extended remix by Pitchline of "The Best In Me."
On the "I'm way behind in reporting this" front, Nadine Coyle's debut single is "Insatiable," written by her and Guy Chambers. It's apparently not a ballad and bears a resemblance to the Bangles, though the latter is a comparison from the Sun so take it with a grain of salt. Fingers crossed--I really want this solo project to live up to Nadine's potential. Fellow Girls Aloud member Cheryl Cole's lead single for her second album is called "Promise This;" there's a low quality clip here, but I'll need to hear at least the chorus to know for sure what to make of it. Speaking of Girls Aloud, I don't think I've mentioned here yet that Luciana Caporaso reported she was writing songs with Sarah Harding. As I've said elsewhere, that seems like it could be a good match; Luciana's punky pop-dance work might be a good way to channel Sarah's apparent love of rock and sometimes shouty vocals (and Sarah's solo Xenomania songs aren't a million miles away from Portobella songs like "Meet Me At The Y Bar" or Kylie's Luciana-penned "Cupid Boy").
The music video for Kylie Minogue's joy-inducing "Get Outta My Way," one of the songs of the year, is out. Floor choreography! Chair choreography! Actually, the choreography is nowhere near the star of the show--that's got to go to these moments. I usually try to hold the belief that everyone has a perfect right to like and dislike what they want, but if you don't enjoy "Get Outta My Way," it's hard to believe you like music.
Margaret Berger has posted some pictures from a recent photoshoot on her Facebook page, as well as stated her new single will be out this fall (maybe as early as September, but I may have misunderstood what she was referring to). We were told earlier to expect it as a spring/summer single so there could understandably be some skepticism, but hopefully we'll have new Margaret music soon. Now, if only Bertine Zetlitz would give us a release date...
a1's new album, Waiting For Daylight, is out October 11 in Norway. That's not news. What is news--or news-ish, anyway--is that you can see a tiny picture of the cover here.
On the subject of albums going to be released in Norway, Melodi Grand Prix 2010 contestant Bjørn Johan Muri's album, Airwaves, comes out September 13. The tracklist and cover are here.
Swedish Stereo broke the new about the tracklist and cover for Ola's third album, out September 15; you can view them here. At ten tracks, four of which are already available for purchase, it's a short album, but hopefully it's got the gems he's capable of being a vehicle for.
The summery new single from British boyband JLS, "Ay Mama" (which features Shontelle), sounds kind of nice, based on a live performance of it.
Alcazar are featured on an Anders Hansson/Sharon Vaughn song on the new Same Difference album. Details at Scandipop.
I hated Gnarls Barkley's "Crazy," but the only thing wrong with the new single from soul singer Cee-Lo Green is the radio edit, "Forget You," which suffers from a poor word replacement choice.
Your problems don't exist when music feels like this.
Songs are posted only for promotional purposes (I love them and want others to know about them, too)--if you like them, please "go out and buy the record"! If you are an artist, represent one, or are a songwriter/producer and would like your songs removed, I'll gladly do so (just let me know).
Today's interesting Twitter moment came from Sarah Dawn Finer, who mentioned that her original 2002 demo of "Not A Sinner Nor A Saint" would appear on the (amazing) upcoming Melodifestival boxset documenting the past ten year's of the contest.
(physical).
