Knowing she'd be better off way out of sight

Fact: I do not own a Bertine Zetlitz album. Not because I don't know of her or don't think I'd love her, though. Partly it's because of the whole "too many artists, too little time" thing, but I think "too little money" would be more accurate. Norwegian CDs always seem to be ridiculously expensive to import and if ever there was an artist for whom you should buy the actual physical CDs so to have the whole package--especially the artwork--I would bet it's Bertine. The Norwegian artist has released five studio albums so far, making beginning to catch up on what she's done a little intimidating...which means her upcoming "best of" album, due out December 3, is very welcome.

Ashamed--there's not much point in me writing too much about this, really, when it's been covered so eloquently and completely elsewhere, so I'll just say this: classy catchy electro-pop that takes Bertine's young daughter (born in January) as its starting point and goes on to create lyrics a lot darker than what you'd expect with a topic like that.

(Posted only for a short time since it's a new single.)

I'm not sure of anywhere where you can preorder Bertine Zetlitz's upcoming best of album, but I imagine Zailor will have it, though I've not used them since they stopped selling CDs and then started to again (all my Norwegian stores seem to disappear).

Next up: maybe an old-ish song from Sweden.

I'll get from you what I can take

I somehow ended up listening to (American group) the Bum Out Eternal's "Promises and Hearts" a few minutes ago and was reminded of how much I enjoyed that song during the summer of 2006. Curious as to what ever happened to them, I decided to look them up and, a few clicks later, was surprised to discover that, though it doesn't seem like they've done anything recently (who knows if they're still nominally together or not), there's a connection with a band I wrote about not long ago: Blake, the guy in charge of "sequencing" (I presume writing the music and programming) in the Bum Out Eternal, now does synths for Metro Station. Well, even if we never hear anything from them again, at least we get this little gem of a pop song out of it.

Promises and Hearts--can I get you to promise you'll make it through at least the first verse? OK, well, let me put it this way: if the first 30 seconds, with their adorable synth beats and "ohhh"ing, don't appeal to you at all, you can probably stop there, but if you like those, keep going through the first few lines of the first verse--which could be off-putting and atypical (it's bleepier and less melodic and sweet than the chorus)--before reaching a final conclusion on the song. Still no guarantees you'll like it, but I think the bridge into the chorus is probably the best part.

I don't know of anywhere where you can buy this particular song, but iTunes has an EP by them.

Next up: maybe two Swedish singers.

Trips to London and Paris

Random bits of music news or information:

I was thrilled to finally find out the date of release of Páll Óskar's new album; given how great I thought "International" (check this song out if you've missed it so far) and "Allt fyrir ástina" were, I've been eagerly anticipating the opportunity to hear more from this album, being billed as "his first dance album since 1999." Even better? The fact that it's being released November 7--that's practically here already! Even better than that? You can pre-listen to the whole album in good quality here. I can't wait--as soon as I get a chance, I'm definitely doing that (so far, I'd say it sounds more...restrained than the two lead singles, more dance-electronica as opposed to dance-pop).

Speaking of albums from Icelandic artists (and Páll Óskar, for that matter, who mentored them on X Factor), Hara's debut album was supposed to come out today, but I haven't seen it available yet. Still, for some reason, I'm interested to hear it--it could be really bad or it could be really good, or at least have some good songs on it. I think the first thing that intrigued me about them was the fact that they did "Wild Dances" for one of their X Factor performances--not that I think that's the best of Eurovision songs and not that the performance came off as I would've hoped (it sounds better in theory than I think it worked in reality), but can you imagine a world where someone in the UK or the US performed something like that--complete with wild dancing? Our singing shows would be a lot more entertaining.

The video for Swedish singer Måns Zelmerlöw's latest single, "Brother Oh Brother," is out. Watch it here, with thanks to Oswald's Popcorn for the heads-up. And then cue debate on his latest look.

As XO's Middle Eight and Tremble Clef both point out, Norwegian artist Bertine Zetlitz has a new electro-pop song up on her MySpace, "Ashamed," which will lead into her greatest hits.

Don't forget that Martin Stenmarck's new album, Det är det pojkar gör när kärleken dör (interesting title), comes out November 7. Ginza's got the tracklisting up:

1.) Rubb och stubb
2.) 100 år från nu (blundar)
3.) Det skall vara fest den dagen jag dör
4.) Liten man på jorden
5.) Psalm nr 2
6.) Det är det pojkar gör när kärleken dör
7.) Ful
8.) Som en sten
9.) Dagen D
10.) Den långa vägen hem (4 km-sången)
11.) 100 år från nu (blundar) (could be the remix of it?)

You can preorder a signed copy of it here.

I see what I need to do

We go kind of tragic today, and that's a good thing; Heidi Montag's song "Body Language" is great. I've not seen more than a few episodes of The Hills, MTV's reality show centered around the lives of some well-off post-high school kids in California, so I can't provide the best of background about her--not that most of you probably care. All that you probably need to know is she's the former friend of the show's protagonist, Lauren, but she and boyfriend Spencer are now on Lauren's bad list--or at least, that's where it all stood when I last watched. Still, whatever she (or anyone else on the show) is actually like hasn't stopped her from ending up with a good song. Apparently it won't be her first single, though, which is silly (even sillier is that she calls it a "non-album track," so I presume it wouldn't even be on a theoretical album from her--she does say she's working on an album now); even if it flopped, I doubt she's likely to end up with a better song.

Body Language--sort of from the "The Way I Are"/"Gimme More" school of pop. Yeah, sure, there's nothing classy about it, but it's got an inspired use of sample. I know, I know, "but it's such an obvious choice!" (from Yazoo's "Situation")--well, that's a good thing. Sometimes a part of a song is so good that all you really want is to hear that part over and over again, and that's what "Body Language" gives us. Even beyond the sample, though, it's got a good chorus (stick it out past that first verse if you can) and the processed backing vocals, made to bounce back and forth and flutter, are a nice touch. This is the version without Spencer's rap, for obvious reasons.

I have no idea if this song will ever be released--it sounds like it probably won't be--so I can't show you where to buy it. If she ever does release an album, though, Amazon should carry it. Better off reading Chart Rigger's thoughts on it here, though.

Next up: I'm not really sure--maybe something Dutch.

Sign you up just to cross you off his checklist

For the record: from "this is underwhelming" to "OMG Blake is the future of (male) American pop music!!!! (until he flops because no one else loves this as much as I do and joins the Click Five at McDonald's)" in under an hour--that's got to be some kind of record.

Seriously, "Break Anotha" is a dream pop song for me--how did I not recognize that at first listen? I think I'm going to need to make a list of all the amazing elements in this song, though I'll try and hold out until we've got a good version. And "Know My Name" is great as well!

God, I am so predictable. Should I just order my Blaker Girls uniform now and get it over with?

Oops, makes you wanna sin again

Do you know, I very nearly mentioned a few days ago that it was rumored we'd get the first taste of this guys's new music this week...but I didn't. I mean, rumors--how many of them end up being true? Well, these ones turned out to be.

I've not hidden that I've been eagerly anticipating his new music--well, maybe "eagerly anticipating" is overstating. I've wanted to be excited and, since American Idol, have thought he had the potential to do something great, but I had really no idea what his stuff was going to end up sounding like, so there was no way I could confidently anticipate its quality. There were so many directions he could go in, and it seemed like he could easily end up going in a direction there was no way we could foresee.

So, now that it's out there (even if in subpar quality)? Well, they say "Break Anotha" is the lead single...and, to be honest, I will be shocked if this does well on the American charts. Not that that's ever been an indication of quality. So on that front? I listened to "Know My Name" first and felt underwhelmed at the time--I mean, I guess it could be OK for an album, but it sounded very...unsigned artist-ish. With a little better production. It's interesting--do you know what one of the earliest things to jump out at me was? The lack of synths. They're everywhere in pop today--often courtesy of Timbaland--but they aren't here. I wonder if that's part of why the songs sound so unusual compared to what you hear on American radio. Well, part of the reason! There's a lot more than that. I really want to hear "Break Anotha" in high quality, to see if it's actually as "light"-sounding as it currently feels--there's no super-strong bassline or synthline anchoring it, nor Kelly Clarkson-level guitars, and, though it's not some light floating pop song like Anna David's "Chill" or something, it doesn't have those anchors. Heck, if anything, it sounds like the "anchors" are strings! So yay for letting some of that "When I Get You Alone" performance from Idol sneak into his music.

I don't think this is going to win over any critics, but I'm on my third listen of "Break Anotha" right now and I'm enjoying it--I'm a sucker for anything catchy, and this is that, from the surf guitar, the sirens, the falling strings, the bounced back-and-forth vocals, to the backing falling "ohhh"s; I've already got both the verses and chorus stuck in my head--oh, and the bridge too. I mentioned recently that what matters to me isn't what lyrics mean, but how they sound, and these pass that test--there's a fun playful feel to them. Actually, shame he's got to release this in winter--seems like a lot more of a summer song, for driving around with the windows down. Still...hmm...I've gone from being completely underwhelmed to thinking I may love them (at least temporarily) in the space of three and a half listens (combined) to the two songs--well, at least "Break Anotha." Don't see it standing any chance on American radio, though, unless the feel changes a lot with the high quality.

This is all rambly right now. That's what you get when you try to reach conclusions in a matter of minutes! I'll see what I think in a little bit, after I have some more time to digest the songs and get rid of my expectations. I just don't think that it's that universe-conquering, everyone-who-hears-it-has-to-like-it song that I was hoping for, even if I end up loving it (which I expect I will, or maybe do already).

Ooo, do you know another reason why I think I'm surprised by the lack of synths and/or bassline? Blake kept talking about the '80's, and I remember him citing Erasure and Depeche Mode as influences--this is a lot more hip-pop or funk-influenced than it is influenced by (what I know of) them. Of course, I'm sure he mentioned other influences, too, and I just forgot. Shouldn't have, though--he's a beatboxer, after all; of course his music was probably going to be more beat-oriented, occasionally percussion-oriented, and sort of...well, to use the phrase again, hip-pop. Jumpy.

Anyway, with absolutely all credit to Rokker of FMSM, here's "Break Anotha," in low-ish quality, posted for a short time though I imagine it'll be all over the Internet in a matter of minutes (hah, as if it isn't already).

Break Anotha

The album, A.D.D., is now due to come out December 4 and can be preordered here (physical).

Edit to mention that I'm currently feeling compelled to listen to "Break Anotha" over and over again. Is that great? I'm not sure--I did that with "Star Girl" because I couldn't make my mind up about it, and ultimately, that song isn't that great. Other times it's because a song is fantastic. I'm really starting to come down on the "great" side, though, I think, or at least the "for me it's great" side--it's too much fun to resist. By tomorrow morning, I'm totally going to be hailing this as the best thing ever, aren't I?

Edit again: hah, didn't even take that long--I now completely love "Break Anotha" and I will not be talked out of it my any of you more logical-thinking people. Yup. Adore it. And am far too excited about it. Which means it's destined to flop.

Wanna get swept away

It's Monday morning. Which, lyrics-wise, probably means this song is completely inappropriate to post. Oh well, though--maybe it'll provide a jolt of energy to get you moving! 2006's Norwegian national final for Eurovision (the Melodi Grand Prix) had some real gems in it, and this song is one of them. It's sung by Birgitte Einarsen, who had entered the MGP back in 2003 with the cute "Good Evening Europe," which ran through a bunch of lines and song titles from past Eurovision entries and the famous songs of past entrants. In 2003, Birgitte took third, but in 2006, though she made it to the the final (the top 8) through the second chance round, she didn't make it to the superfinal (the top 4).

Saturday--fantastic disco-pop. It's got a great swooshy backbeat, some nice strings, and, most importantly, a really strong upbeat chorus. There's not that much to say about it, really, except that it's great and very unabashedly pop, maybe a nice contrast the songs of the past couple days.

To buy the Melodi Grand Prix 2006 album, go here (digital).

Next up: maybe something else disco-y.

I tell you I, I'd feel a whole lot better if you took some time to shed a tear

Nineteen year old Chilean-born Norwegian singer Alejandro Fuentes first became famous when he took third in the second season of Norwegian Idol. He went on to release his debut album afterwards, but the sales of that album would be far eclipsed by the next record he was involved in, the live recording of the tour he went on with Kurt Nilsen, Askil Holm, and Espen Lind. 2007 has brought around his second solo album; he's currently on the second single from it which, in a good sign for him, is performing better than the first--it's currently sitting atop the Norwegian singles chart for its fourth straight week. With good reason, too--it's a great song.

Hell If I--a commenter last year described Alejandro's debut album as him basically just trying to make a David Gray album and, though my knowledge of David Gray is extremely limited and this is now Alejandro's second album, I think you still definitely get a similar vibe. I've heard disappointing things about his second album as a whole and so not picked it up yet, but with this song, Alejandro has definitely got it completely right--that chorus has got a heck of an earworm embedded in it, as does the whole song, to be honest. "Hell If I" manages to simultaneously sound smooth and sort of organic, a little rich. And really, if you bother to pay attention to the lyrics (and usually I don't--as long as they work in sound, that's usually what matters to me, not meaning), it's actually got some interesting sentiment behind it that's played out really well. The first verse opens with "I thought we had something special," which becomes "I thought we had something precious/even if I messed up;" then the bridge, that finds Alejandro admitting " I know I've lost my right to judge things you do" as well as " I must confess it hurts a little more then it should," before we move into that secretly catchy chorus, where he proclaims " Hell if I'm gonna cry because you found someone new" before admitting that he'd feel a lot better if his ex was more upset about the breakup, adding that " Maybe you didn't have to look so pleased/so good, so satisfied." I don't know, something about the whole "I know it's my fault this is over, but I can't get how happy you are with someone else out of my head--couldn't you act a little more upset about this?" idea gets to me. I mean, obviously the character he's singing from the perspective of isn't justified in what he wants at all, but since when has something not being the "right" thing to feel ever stopped people from feeling it? I think that's why I like the lyrics (when I'm actually listening to them)--there's a kind of universal sentiment behind them--and, when coated in this melody, which isn't in-your-face at all (if this was, say, an aggressive pop-rock song full of snarling guitars, I'd probably be a lot more upset about what he was singing), they're just so melancholy in a catchy appealing way that I can't resist--Alejandro may be able to muster up the macho "hell if I'm going to care that you're gone" posturing for a few seconds at the beginning of each chorus, but he can't manage the facade for long before he lets hints of how bothered he truly is slip in, with the music changing to match the change in lyrics, the energy and the strength backing off just as he does. Of course, all that said, the song still manages to end up feeling like it could be a great defiant sing along type of affair, so maybe the proper interpretation is a completely different one (or maybe it's just a case of bitter versus secretly sad). I'd still say the real reason I love this song is how catchy it is, but when I'm in the mood for depth (even if it's only mid-level depth that to be honest is still beyond me), it's there.

To buy Alejandro Fuentes's second album, Tomorrow Only Knows, go here (physical). The title song from the album was the lead single and is worth a listen if you like this song--it's happier.

Next up: something much more upbeat and poppier, though maybe not very appropriate for the beginning of the week.

So when I smile I am crying

While American Idol finalists are off filming car commercials, Norwegian Idol's finalists have, for the past two years, recorded an original song. 2005's was the cute poppy "Dreaming," but the show's managers must have decided they wanted something a little less cheesy and a little more credible (here, read that as "with more guitars and not quite as shamelessly happy," though still far from cool) for the following year, the year which Aleksander With ended up winning. Normally that would be worrying, but 2006's song actually turned out to be truly great--which might have had something to do with the fact that (I think) Espen Lind was involved with writing it. They also filmed a music video for it which, in addition to being quite endearing and looking, as one YouTube commenter said, like it's "a commercial for Gap or Old Navy," made me realize something else about Norwegian Idol: its contestants are, in general, a lot better looking than ours. Pretty young, too.



This Is Life--kind of teen pop-ish, but a little more serious than you'd expect for something with that description. It's sort of an odd combination really, even stealing some elements from rock balladry. Before that reference turns everyone off, it really is a catchy pop song, just catchy in a different sort of way--the hooks here feel...heavier, maybe, to go along with the song's theme--which, despite what the video and the song's background would make you expect, is sort of depressing. I mean, lyrically those verses are pretty bleak, aren't they? I don't know, maybe the reason they're all smiling is that saying that this is what life is is supposed to be some sort of existentialist affirmation or something, but shouldn't these kids all be celebrating? They've made it to the finals! Anyhow, tossed together with some guitar hooks that feel very...solid, some "woah-oh-oh"s, and the appealing young-sounding voices of the singers, they add up to a great pop song, one of the sort that feels confessional without really confessing that much, probably to allow people to fill in the gaps with their own experiences...and I don't know, I know that's not unique to teen pop, but the song feels very tailored for the teen experience, though its audience and appeal certainly shouldn't be seen as limited to teens.

You can buy the Idol 2006 album, which has this song on it, here (physical).

Next up: maybe another Norwegian song that I was planning to post today. Or Alejandro Fuentes's latest single, the one I wrote about a few days ago.