Tim: Tom, meet Melodifestivalen’s interpretation of J-Pop; I genuinely don’t know what your reaction to this will be, though you’ll probably (and fairly) already have made your mind up from the band name.
Tom: Never mind the band name, you’re telling me someone’s tried to combine Europop and J-Pop? This’ll be either brilliant or brilliantly awful.
Tim: Only one way to find out…
Tim: And I think that’s just WONDERFUL.
Tom: The production is wonderful, yes. The music’s exactly what I hoped it would be from your introduction. But let’s be honest, the lyrics are abysmal and at least slightly creepy.
Tim: Well, it’s an introductory song, isn’t it – three 18 year olds calling themselves Molly, Holly & Polly, and if the various revelations in the song weren’t enough for you, in a recent interview they claimed to come from a dollhouse in Dollyville, so they’re basically the Spice Girls crossed with the Teletubbies. The chorus is incredibly catchy, and whether that’s a good thing or not is entirely subjective, and personally I love it. God knows I’d not listen to whole album of the stuff, but right now? Lovely.
Tom: I can’t see it doing well at Eurovision, but then my predictions for that have never been all that accurate.
Tim: Stylistically, this is, obviously, way out on its own; in terms of serving a purpose, though, I’d put it up with Hasse Andersson – not gonna win in a billion years, but it’s a lot of fun, a big break from the usual, coming with a fairly nice key change. Do they have a future after the contest? No idea. They see themselves more as appealing more to kids than anyone, so I guess it all depends on how many pre-teens have Spotify.