Discussion in 'Eurovision' started by Rhombus, Jun 18, 2018.
Yeah that’s just from Spotify streams and iTunes downloads.
I am seeing SO many posts on my timeline from non-Melfest/Eurovision fans who are watching the movie and posting about the final song, What on EARTH was Molly Sanden thinking performing under an alias.
It's confusing enough for the general public when someone is dubbed, but then having to go through another alias to get to the real artist in question is just madness. Especially when that amazing last EP of her's is right there to be loved. Granted, I suppose not many people would seek it out and listen to a foreign language EP but if even a handful of people were to discover her greatness that would be good.
Vanity Fair article... love some of Molly's comments:
Swedish pop singer Molly Sandén was hungover on vacation in Los Angeles when she got a random phone call. It was her friend, music producer Arnþór Birgisson, and he needed a favor.
“He was like, ‘I just wrote this crazy song and we need a Scandinavian voice. And I mean, you’re perfect. Can you be here in 10 minutes?’”
When she arrived, Birgisson explained what he was writing music for: a Netflix comedy, cowritten by and starring Will Ferrell, about Eurovision, the very real song competition that has been a phenomenon in Europe since the 1950s. Birgisson and music producer Savan Kotecha had just written “Double Trouble,” the main song that Ferrell’s character Lars sings with his collaborator Sigrit, played by Rachel McAdams. They needed to hear what the track would sound like with a female voice.
The opportunity to collaborate on a movie involving McAdams wasn’t the most surreal element of the offer for Sandén, a Notebook mega fan. (“I mean, Ryan Gosling in The Notebook was my first wet dream as a kid,” she said.) It was that Sandén herself had performed four times on the junior edition of Eurovision, representing Sweden. She and her two sisters had grown up obsessed with the competition—mocking up elaborate costumes like the ones they saw on TV, copying the contestants’ dance moves, and practicing vocals in their basement. The first song she ever wrote was for Eurovision. When Sandén lost, she was heartbroken.
So after the “Double Trouble” studio session proved a success (in spite of the hangover), and Sandén was formally asked to contribute vocals for McAdams’s triumphant journey, she saw it as a kind of redemption.
“It felt like a rematch for 14-year-old Molly, to finally get somewhere in the Eurovision,” said Sandén. “And it’s ironic because I lived in L.A. for almost two years, and my big dream was to be successful in the States...to have an opportunity like this. But when I gave up my dream and moved back to Sweden, that’s when I got this call and this opportunity.” Laughing about how her story contradicts the film’s message—to keep fighting for your goals—she said, “For me it was kind of the opposite. Just let go, and then you might get a phone call one early morning when you’re hungover.”
In recent years, Sandén said that she had been focused on her pop music—at one point aspiring to become “the Swedish Taylor Swift.” But when she was invited back into the studio for Eurovision—particularly to work on the the soaring, catchy track “Húsavík”—she found herself channeling the singer she originally intended to become, as a Eurovision-obsessed kid practicing high notes in her basement.
“I was a weird kid and I was bullied, so I would go to my basement and I practiced my vocal skills,” said Sandén. “I practiced those high notes. Especially the song with Céline Dion, ‘All by Myself.’” Sandén broke out into song to demonstrate. “The high pitch goes on forever. That long note...I practiced that one especially and the first time I nailed it in my basement, I was so happy. I just saw stars twinkling, like gold and glitter coming from the roof. It was just a magical thing that happened when I nailed this long note for the first time. And I thought, Wow, this is my magic, this is my superpower. I have to have this note in my song to be able to win.”
Laughing, Sandén said, “When I look back on it, I realize those stars and glittering is just lack of oxygen in my brain. But back then, I thought, This is what I’m meant to do. This is my purpose.”
When she recorded “Húsavík”—Sigrit’s triumphant ballad—Sandén incorporated that very high note, the same star-inducing crescendo she practiced in her basement and used in her first Eurovision song. (The high note that gave Vanity Fair’s chief film critic Richard Lawson “genuine chills.”)
“When I saw the movie, I got goosebumps,” said Sandén, of hearing her voice come out of McAdams’s mouth on that Eurovision stage. “Because it was like, she’s me.”
According to Netflix, Sandén’s vocals were mixed with McAdams’s own voice for the tracks. In a separate phone call with Vanity Fair, Eurovision’s music producer Kotecha said that Sandén and McAdams’s “tones worked so well together” that, in playing back certain tracks, he had a hard time differentiating between the vocals. But Sandén, who has seen the film, said she only noticed McAdams’s voice in a scene in which the actor was singing to herself in front of a piano. Asked if she thought the vocals had been mixed, Sandén sounded skeptical: “If they say so, maybe that’s the truth. But I just know that I didn’t really hear [McAdams] in the soundtrack...maybe it’s mixed in somewhere.”
Sandén said that she had steeled herself to watch the film—expecting that it might be a biting parody of the competition that represented her childhood. “I thought it was going to be even more ugly. But I think they managed a good balance of handling the parody but also being uplifting and highlighting the beautiful things [about] Eurovision,” said Sandén. “For me it’s about the countries coming together and joining in music. Even if it’s silly, it’s beautiful.” She did admit, however, “Those weird characters are really there. I’ve met them myself. Everyone is taking themselves way too seriously.”
These days, Sandén said, she is working on a new album, mainly writing in Swedish. But she’s been toying with the idea of writing a few English songs as well, perhaps buoyed by her positive experience on Eurovision. In the meantime, though, Sandén is gearing up to watch the Netflix film again on Friday, when it premieres—this time, with her sisters.
Speaking about her surprising return to the competition series, she reiterated, “It feels like a rematch for the 14-year-old Molly, who lost four times and didn’t even make it to the final. Now it feels like I can leave Eurovision forever on a good note.”
Obviously, it's goofy as fuck, but I would love a full-length "Volcano Man."
Molly's a genuinely great singer and if anything from the film deserves recognition, it's her. I'd love a new album from her soon, whether in Swedish or in English.
It's really is bizarre of her to change of name on a project this big. I'm sure she has reasons.
Probably because the movie had a very high possibility of being poorly received, but it has actually done quite well.
Yeah, a Will Ferrell Eurovision project didn't exactly scream "success."
2020 is full of shocks but the biggest of them all is this movie actually being good? Yeah its flawed, but that is to be expected. What is surprising is how much heart was put into this movie. I thought it would mock the contest, but it seems to be an ode to the contest. I enjoyed it more than I wanted to.
I also love that the queer coded character wasn't the villain but rather a sympathetic character.
I also quite liked the message of the film being that Eurovision isn't about winning but rather its about representing where you come from (the final song is literally about where they came from). Artists representing where they come from is one thing I love most about Eurovision.
I wouldn’t mind Steps covering ‘Double Trouble’ if I’m honest.
Since Molly Sanden is being talked here, has this been mentioned yet?
I’m gonna tell my kids that this song is winner of Eurovision 2020
Actually wouldn't mind this being worked into the interval next year.
Husavik has over 1.4 million streams here in the UK.
Husavik at #60 and Double Trouble at #91 in this week's chart.
Who is that actor who played the 21st Century Viking? Dreamboat.
Molly crediting herself under an alias was such a huge mistake. This should be her moment.
Can Loreen actually cover Ray of Light?
I'm genuinely annoyed at her. This really could have cleared a path for her to storm Melfest / Eurovision. I assume she was worried about a potential backlash from the film from the Eurovision community, but she really should have realised that wasn't going to happen when she heard the demo for Husavik and recorded it.
Separate names with a comma.