58 Comments

TEKO 2017: Vote in Group 10!


teko-2017-logoTEKO 2017 – It’s time to vote in group 10 of TEKO 2017; a knockout format (like the World Cup) tournament for Eurovision 2017. Today, you can start voting in the group of Azerbaijan, Georgia, and Sweden!

TEKO 2017 – Group 10

Please listen to the three competing entries:

 AZERBAIJAN Dihaj – Skeletons

GEORGIA Tamara Gachechiladze – Keep the Faith

SWEDEN Robin Bengtsson – I Can’t Go On

To hear the song, click on the respective flag!

The voting:

After listening to the three songs, it’s time for you to vote! Please vote for your favorite out of the three.

Europe (…and Australia…and the rest of the world), start voting now!

UPDATE: The results for this group are out now!

58 comments on “TEKO 2017: Vote in Group 10!

  1. Azerbaijan all the way this year. I’m so pleased they got out of their ballad phase.

  2. Hmm one of the toughest groups for me: AZE #10, SWE #12.
    I voted for Azerbaijan.

  3. #2 Azerbaijan
    #7 Sweden
    #16 Georgia

    I have my skeletons!

  4. poor georgia lol
    azerbaijan for me, their best ever imo

  5. Azerbaijan gets my vote. :p I like Sweden and Georgia too.

  6. Azerbaycan 🇦🇿
    Their best entry to date 🖤

  7. A close call as both Azerbaijan and Sweden are in my top 5. My vote will go Robin and his great, slick performance and well written catchy song.

  8. Necrophilia!

  9. Hm, well. Will probably vote for Azerbaijan here, but I am really not excited about it. Cold electro mixing overused present day melodic and harmonic elements (like most of the songs sadly). 6/12

  10. In fact this year there are only six songs I genuinely like :-(

    • (Portugal, Czech Republic, Armenia, Belgium, France, Belarus)

      • I’ve already checked on your profile page. All those songs are in my top 11. :)

      • So the songs you like don’t have overused present day sounds?

        • Well, some of them have. It doesn’t necessarily mean that the song is bad.

          It’s more a general concern about the field that a big number of entries use the same patterns. F.e. you’ll find the exact four chords in the majority of the songs (transposed to the respective. There is very little adventurous harmony, if any, like we know it from f.e. Anouk’s “Birds”.

          A few days ago I re-watched the 2008 final, and it wasn’t like that. There was much more variation in that respect.

          • I think that the way EBU defines jury voting is partly responsible for the loss of diversity.

            • Agreed and signed.

            • Indeed. It will become a desert.

            • I don’t know. Some of the less “jury-like” songs falls into that category too. A good example is the use of the chords VI-VII-I in minor (in the key of A minor that would be F major – G major – A minor – the order of them may vary). I think it’s more a reflection of today’s international pop scene in general.

            • Musical globalisation? Meaning that whatever is considered up-to-date at a certain point is rolled out globally? It’s similar in popular literature btw. Globalisation is levelling out regional characteristics, traditions and differences.

            • Nonetheless we are speaking of musical patterns that weren’t common in Western pop music 30-40 years ago.

              If you take the “4 Chord Song” progression for instance (in C major: C-G-Am-F, in F minor: Am-F-C-G), there weren’t many examples of them in the 60’s or 70’s in f.e. the British and American pop/rock. Today there are quite a lot. If you have watched Axis of Awesome’s 4 Chord Song video, you will notice that most of the examples are from the last 30 years.

              I counted the number of songs with it in Eurovision since 1997 (“Fiumi di parole” being the first one I remember), and it has increased a lot from that. I don’t really recall any of them before 1997 – there might be a few of course.

            • So I wouldn’t say it is necessarily about wiping out regional differences. It is more about reducing the musical building stones in general. The compositions are getting more simple, the chords are getting fewer, there are fewer notes in the melodies.

              It’s more about commercial thinking: which types of musical elements are selling well, rather than how do you express something musically. It is done too within a regional sound.

        • (*transposed to the respective keys of the songs)

      • All those song are in my top 11 as well. Portugal, Armenia and the Czech Republic are in my top 5.

  11. Georgia keep the faith between these sharks!

  12. Azerbaijan. The other 2 are dreadful.

  13. Azerbaijan is in my ‘good’ pile, not one of my very favourites, but not far off.

    I’m ambivalent about Sweden. It is insanely catchy, it has a pleasingly fat synth bass riff and who doesn’t love a bit of treadmill choreography? On the other hand, it has very little musical content and the lyrics are pure cringe.

    Georgia is this year’s obligatory attempt at a Bond theme, but it’s not bad.

  14. Azerbaijan is my #1 this year so of course, my vote flew to them.

  15. Azerbaijan of course

  16. Azerbaijan is in my top 10 and is a much better option than Georgia’s qualityish screaming and Sweden’s polished to death act: where’s the melody? where are the lyrics? where is the singing voice? Oh wait, it’s all about treadmills and looking hot, silly me!

    P.S. – I still think that Sweden will win the whole thing; someone sneezes on a MF stage and the bubble screams 12 pts and then faints. lol

    • still, be fair, the bubble has Italy in a huge lead over Sweden!

      • Which only shows that the bubble is capable of enjoying quality songs, but the fact that ‘I can’t go on’ (aka as the conveyor song) is riding so high based on stuff that has nothing to do with music or lyrics is sad. Just watch his interview, they talk about conveyors and clothes and I do not blame Dimitri, because there is no worthy song to talk about after all.

        • The music analyst here claiming that there is not much difference between Italy and Sweden in terms of musical substance. Both songs contain some musical catchiness (though they differ in terms of style), but not so much musical depth.

          When it comes to lyrics, it’s a different story in that one is a cliché love song and the other one has meaning layers.

        • In other words, they may both be effective as instant pop songs. But there is not much to talk about if you are seeking unusual chord changes, interesting forms, surprising musical elements, creative vocal phrasings, sound experiments etc.

          • Thanks for your input. I understand your point. Italy 17’s main attraction lies in the cleverness of its lyrics and in Francesco’s charisma and spontaneity on stage. I never said anything about Italy being a musical masterpiece. Portugal is much closer to that level, but I use that word very rarely. The Italian entry manages to be highbrow and lowbrow at the same time and that is terribly exciting. Moreover, Francesco comes across as a singer who is having a ball on stage and who can afford to go off script and still carry the song through a successful performance. Sweden 17 is cold, shiny plastic that looks and sounds good for about 30 seconds. It’s lifeless which is something that is unrelated to sexual attraction (the main theme of the song).

    • I do hope Sweden wins. Unfortunately the bubble has gone haywire this year I am afraid preferring embarassing circus acts and songs that expired 60 years ago accompanied by not very genuine disturbing stage personas over slick, competent and well written songs like Robin’s.

      Sweden winning is the best way forward for the contest at this point, maybe along with Bulgaria, Belgium and Azerbaijan. And who knows ? Maybe Portugal for example will learn a lesson or 2 musically finally if Sweden wins – at least join the 21st century. It doesn’t have to be 2017. 2000 is good enough. Baby steps I guess.

    • Luckily it’s not bubble that’s in charge of televoting or juries.

    • As Swedes don’t buy Robin it’s highly unlikely that European tv audiences will. He’s a far cry from Måns’ instant likeability also the staging is a far cry from wow effect of Heroes staging. Both were key factors to push a mediocre song to win. I loved it, but only in MF and ESC.

      • most of the time than the MF winner didnt win televote (2005, 2008, 2013), then it came crashing in esc (on the other hand winning televote doesnt necessarily mean you’d do well in esc, see 2007, 2009, 2010)…

      • It’s good to know that Swedes do not buy ‘I can’t go on’. Who were those jurors who voted for him? The same kind of people who will be jurors next May? I think so and they will support him again.

        • I guess it is as comforting as that we know the portuguese public did not buy “Amar Pelos Dois” right ? Viva La Diva won the televote. And the question is the same : Who were those jurors who voted for him ? Hopefully not the same people who will be jurors in May. Hopefully they will be jurors who care about the contest and will support entries like Robin’s.

        • Then again there’s lots of razzle dazzle with added extra smoke and mirrors to attract those jury voters in ESC. We’ll see.

  17. Off-topic: this a lovely instrumental version of ‘Amar pelos dois’:

    It’s been only two months since Salvador won and one can already find dozens of versions on-line.

  18. Azerbaijan has fantastic verses, but I really can’t warm up to festival pomp and circumstance of the chorus. It’s also way too warrior princess yell for me. Still it’s almost top 10 on my list at the moment.

  19. Wow, what an entry from Azerbaijan, very good!! Sweden’s very entertaining too! I didn’t like Georgia. Azerbaijan got my vote.

  20. Is Dihaj the one who participated in ETSC 5 last summer ?

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