Steve:

Somewhere in the hills of Albania, a hitchhiker thinks about picking up a handsome stranger and…

Well, any song that has shouts of “Hajde” in wahtever local language is an automatic 10/10 for me.

Basically, this song is a mish-mash of elements, not unlike Albania’s 2021 entry… Excpet, they are all things that I find individually more compelling than I did last year’s entry. We’ve got some zurna, dance beats, hints of ’90s pop…

Of course, the problem is that it doesn’t really hang together as a cohesive whole. But, hey, I would get down to it if I was at a club.

Steve:

When I first saw the artist title, I was certain that this song would be stupid. I mean, what intelligent person would call their project intelligent?

Unfortunately, I was also expecting some good synths, some nice beats. Maybe something related to the terribly-named subgenre of… *ahem* “Intelligent Dance Music“.

Well, what we have hear is a song that sounds like something that could be played on say, a rock station that my dad listens to in the car. Except, it’s probably a bit insulting to Nickelback to make the comparison.

Steve:

Wow, I think you’re being a little harsh about Foo Fighters. They have a much better handle on song structure. And besides, I have a soft spot for them, because a friend in high school.. tried to claim that the Foo Fighters invented all of their own chords instead of using chords that other people had used before. Which is hilarious, because ain’t no Foo Fighter inventing chords.

I’m with you on the weird lyrics. For example, this dubious couplet from the bridge filled me with the special joy I’d get from a B-Movie:

“The more freedom I gain
The less real life I’m recalling”

Also, I’d call the guitar solo a highlight. I’d hate it anywhere else, but it was better than the rest of the song.

While I’m at it, I love that the band takes a page out of the Chris Dane Owens school of thought and ends their music video with a memorable message:

“It’s never too late to set foot on the right path
All you need is a firm INTENTION”s

So intelligent indeed.

Steve:

And, by the way, I looked it up. Chelsea is dead right in calling this a grandpa band.

“Intelligent Music Project” was founded by a 53 year-old “businessman,” and this probably explains a lot about why they sound the way they do, and how they got to be Eurovision entrants…

Quoth his current Facebook bio:

“Dr. Milen Vrabevski is a passionate composer and musical producer who works with world famous rock musicians who perform his own author’s musical projects.”

Steve:

As someone who wrote a song about eating vegetables, I feel a bit encroached by this one existing.

Steve:

Well, this is a funky, funky, disco-inspired eco anthem dance bop about… recycling, composting, and eschewing red meat for… vegetables and pussy. It is catchy, it is fun. It manages to mostly toe the line of not being too obnoxious, though occasionally it flies its dance bro flag wild and proud.

Steve:

Alright, we are solidly into mid-tempo disco-inspired territory here, with this lovely tune about missing a man. Major points for being sung in Lithuanian, which I haven’t heard in forever, and it is just lovely.

Major points as well for its artsy touches: the slow shutter speed in the music video, the mid-section that briefly brings in some hip hop influences, and the guitar solo that sounds almost horn-like.

Is it enough? No, but it is enjoyable.

Steve:

Have you ever wanted to ride a train from Chișinău to Bucharest? No!? What on earth is wrong with you.

WATCH THIS MUSIC VIDEO IMMEDIATELY.

You get some nice Carpathian folk… with Celtic influences, and maybe a swig or two of U.S. Country, and some absolutely fantastic gags.

Also, there’s a not-too-subtle but still lighthearted amount of geopolitical commentary going on. The train is running from East to West, from post-Soviet Moldova to EU member Romania, both areas with Romanian speaking populations. According to the lyrics, the train itself is confused whether its journey is through one country or two.

(I’ll note here as well that in recent years, Moldova’s government has shifted from a pro-Russia ruling party, to one that submitted its first bid for EU Membership earlier this month.)

Meanwhile, the train ride in the video is awash with nostalgic imagery.

But, really, there’s no need to analyze things at this level. This song is fun.

Steve:

Okay, we’re in solid ballad territory here… still mid-tempo ballad territory. And, it’s another breakup song. And again, another song that is probably better if you don’t read the lyrics, and can just appreciate those Dutch velar fricatives without knowing the meaning associated with them.

The guitar tone is nice. The vocals have the right amount of reverb. The production in the studio version is all there, and the chorus is super pleasant. I love all of the singer’s oohs, and aahhs, and could probably gladly listen to a song full of em.

Not the tada dadadadadadaddada’s though. Those are overwrought.

Steve:

Oh no, Chels. Don’t come for the oohs and ahhs. That’s sacrilege.

Steve:

I hope you’re not holding out for any surprises here. This is, in fact, a disco song, with a somewhat handsome singer, and somewhat animated band. It’s pleasant and all. The horn section (invisible in the video) is the best part.

I like the genre, but this isn’t what I would call… memorable.

Steve:

Let’s start with the positives here: there are drums being played with brushes buried in the background of the mix from the second verse onwards, and towards the very end of the song, a clarinet… (an instrument far too lovely to be associated with this song, but never the less, a clarinet) seems to be trying to let out an almost Klezmer line for a brief millisecond that’s nice.

Other than that, this ballad is made of cliches that come so hard and thick they could be cut with a knife. From the pregnant pauses and overwrought lyrics of the intro, to the chorus which compares a boy crying to a mountain crumbling… this is a doozy.

Steve:

After strong entries from Gjon’s Tears, and a memorable enough dirty dancing bop, it’s a shame to see Switzerland fall so low.

Steve:

Ukraine has been in the news of late, for y’know war, in addition to Eurovision drama. Fun fact, this is Ukraine’s second entry after their first artist withdrew under controversies about past travel to occupied Crimea. Meanwhile, at least some of new entrants Kalush Orchestra are currently fighting, so it will be interesting to see how this pans out on the Eurovision stage…

(Side note: having just given a listen to the original entry – I prefer this one by a country mile. Withdrawn artist Alina Pash can do & has done better.)

Steve:

So, if the criteria for a great Eurovision song is, “would this be a bop in Chelsea’s car,” then I can firmly say it would absolutely be a bop in Steve’s car. We got some lovely Ukrainian folk-hiphop blend, with ‘white vocal’ harmonies and some sick flute solos in the drop.

It doesn’t quite have the je ne sais quoi of Go_A’s last two entries, but it is a fantastic number.

Steve:

I think that this song reminded me too much of Mumford and Sons or “Ho Hey!” by the Lumineers. Except, like, it’s a breakup song, but still not one with enough emotional depth to carry the tired sound.

The one two / three four in the chorus also really reminded me of that child’s song “one, two buckle my shoe” which is probably not the right vibe for your mature acoustic guitar strumming number.

I enjoyed when her house floated through the clouds particularly when they seemed to be depicted by an overzealous smoke machine.

This isn’t my jam, but it is a totally acceptable version of its style.

Steve:

Lumix!?! Who do they think they are?! A Panasonic brand camera?

If so, I hope one with a nice four thirds sensor and in-body image stabilization and… (okay, I’ll stop now, though all my memories of happy photos taken with a Lumix GX85 beg me to continue forever.)

Steve:

This one reminds me a bit of “The Ride”, Poland’s entry from last year’s Eurovision. Theoretically, it’s a high tempo electronic pop bop, something I should enjoy, with all them nice octave basslines and such.

Actually though, it’s horribly generic, and something about the production just seems a bit grating. I’m also not impressed one bit by the shots of LUM!X occasionally prodding a LaunchPad. I know what an honest to god live electronic music performance looks like, and this ain’t it.

The song seems to repeat its chorus about a billion times. It isn’t particularly inspiring or catchy the first time, so by the billionth… It’s stuck in my head and I don’t like it.

Though, I will say that Pia Maria, who I guess provides the vocals, is a lot cuter than 2021’s Rafal.

Steve:

Okay, so I was not expecting this to open with acoustic guitar, and I was not expecting singer-songwriter vibes. Really, this slots more into something that I could imagine slotting into late ’90s early aughts pop radio, somewhere between “Sk8r Boi” and “1000 Miles.” Except, like, about infidelity on the singer’s behalf. #BalkansFTW

I do think that the lyrics in the chorus are a bit weak, and that the backing vocals towards the end of the track are a bit overbearing. But hey, it’s overall pretty enjoyable, and I enjoy the staging with a hunky male dancer doing somersaults and then awkwardly coming in for a kiss.

Steve:

I’m not excited to listen to Denmark.

I think Denmark are usually one of the worst Eurovision countries, with songs about how we should be happy and ignore politics, or just boring stuff.

My expectations are rock bottom…

Steve:

Oh good lord, we’re in piano ballad territory.

And oh, good lord, the vocals are a bit raw, and there’s an orchestra looming in the darkness.

For the love of god, yes, they start to play, and maybe, I am holding out hope that a drummer will come in. I am just wishing for a miracle. I am hoping that there will be some momentum.

Well, when the second vers is about to start, we are suddenly thrown straight into rock music territory, not unlike Bulgaria’s entry. Except, instead of grandpas, I guess it’s maybe an aunt and her cool young friends, and man, they like to play the six notes they know on their instruments quickly and repeatedly.

It’s never good, but it’s at least not as boring as it could be.

Steve:

Let me start with the elephant in the room. The scenery in this video is so damn spectacular and gorgeous. It really makes me want to hang out on a boat near an idyllic Greek village for sure.

Meanwhile, the song. It’s ballad-ish. It opens with some really lovely sparseness, and some vocals accompanied by a vocoder harmony, which really work in the initial build-up, but I feel like the pre-chorus and chorus are rather uninspired. When the beat and swooshy backing come in, they do save things for the chorus, but make the verse less interesting.

Overall, I feel like there are solid elements here, and like Amanda could def deliver something super special and awesome, but this isn’t it. I can still kinda see myself bopping to it, but I’m not sure why.

Maybe because I want to move to that Greek village.

Steve:

Lots of nice acoustic guitar, vocal harmonies, and ’60’s/’70s vibes. It reminds me really strongly of something I can’t put my finger on.

It’s pleasant enough, but not a standout.

Steve:

Fucking hell. If this is anything like that Ylvis song (“What Does The Fox Say?”) that I politely tolerated for a year of… cannot word it politely

I will be upset.

Steve:

A coin has two sides, a story with two characters has two perspectives, and so, this song has two elements I can discuss: the music (and NOT the lyrics), and everything else about the content and how it’s presented.

Well, musically, we open (and close) with a nice acoustic guitar part, and it’s pleasant, building into good dance music vibes. It’s well-produced and boppable. The bridge is a really weak spot, and some of the later choruses go a bit too obnoxious with group vocals and the like, but it’s not bad per se…

As for everything else, the music vid is chock full of dances designed to take Tiktok by storm, and the lyrics scream “lol wut I’m so random,” with gags about… not knowing someone’s name and calling them Keith, or wanting to eat someone’s grandma.

It doesn’t have the same level of obnoxiousness of “What Does The Fox Say?“, but I find its aesthetics tiresome nonetheless.

Steve:

My first thought was to preempt Chelsea by saying, “Why isn’t she singing in Portuguese?” But, eventually there are a few Portuguese lines and they are a joy. If the whole thing was in Portuguese, it would be better.

The live in the studio version features just a beautiful, rich piano tone, and a really nice fullness to the voicing of the piano notes. Is the melody simple and repetitive? Yes, but man, Maro hits all the goddamn notes so beautifully.

And, that’s why I like it. It’s not really that interesting of a song, but I find it charming.

Steve:

So, I generally like Australia’s recent Eurovision entries. They have no reason to be there, but they’ve brought something interesting to the table. Unfortunately, this time, “Not the Same” is rather… dull and uninteresting.

Sheldon has a lovely cape-skirt, and rhinestones in front of his face for most of the performance, but other than the costuming, the song is pretty much a slow ballad with operatic vocals and high notes.

Does he hit his notes perfectly? Yup!

Is this basically, “Boys Do Cry” if it was… passable? Also yep.

Steve:

Oh man we have the most ballad-y of ballads next to each other.

Nadir Rustamli probably has the best male ballad out of this year’s contenders, though it would have so much better if say, Gjon’s Tears was back singing it.

The lyrics are a muddled soup of breakup cliches, with a bizarre pre-chorus about “the weaaaather” and the strange refrain “it hurts so fast, when love goes bad.” They’re not helped by Rustamli’s lackluster English enunciation.

But, we have nice buildup, nice piano, nice strings, and mostly nice singing.

The exceptions are that Rustamli’s voice has a harshness to it when he pushes it, which I really dislike. This is accentuated when the song climaxes with his high notes. At first, they are a fitting climax, but before he finishes his display of prowess, they remind me more of a wounded animal.

Please sing something less boring in Azerbaijani next time.

Steve:

So, this one has a few nice elements to the instrumentation: a bağlama or bouzouki sounding string instrument, and a nice bit of flute, and occasionally, maybe some notes in a non-chromatic scale. Really, though, it’s predominantely blended with a pop song with a dance beat, though, and that’s what takes precedent.

The result sounds not unlike a Turkish pop song. Not unlike a Turkish pop song I would only listen to for Turkish listening practice. Except, of course, the lyrics are in English and Greek. Though, some of the English has rather Greek-like stress and intonation patterns, so it can be surprisingly difficult to tell the two apart.

Overall, I feel like the vocals could use more energy, and like this could translate into a killer live performance. But, what we have on record is too bland.

Steve:

I think what we have here is a catchy number, which, yes indeed, sounds like it has been beamed to us straight from 2003, or a parallel universe in which nothing has changed since then.

And oh my goodness, there are so many lyrics that made me laugh at how absurd and cringy they were, like a final kiss.. that leaves a scar… on the heart.

Or, say, how Jezebel is a “shark in heels” and “predator on wheels.” Am I supposed to find those descriptions attractive? It sounds like… someone on To Catch A Predator (also something popular in 2003, right?)

The song is a bit too repetitive for its own good, but it benefits from the lack of any others in the same style. It is energetic, it is entertaining, and cringey or not it is better than a lot of other entries.

Steve:

I’m really excited for this one, because I feel like Georgia tends to take a lot of risks. They’re not rewarded for their risks with points, but they tend to be more interesting. I have no idea what Circus Mircus is going to sound like, but I hope they’re good.

Meanwhile, I should point out that the youtube clip intentionally looks like a removed video, but isn’t one. As the band writes in the description:

“Due to the war in Ukraine, we feel that it is not the right time to release our happy and colorful music video.“

So, that’s what’s going on there.

Steve:

This sounds like a funk rock band, with like a slight King Crimson influence. Maybe, not quite angular enough to hit avant-garde levels, but like there’s definitely some angularity there. And some ’60s influences. And synth arpeggios.

I would get down to the verses. I feel like the chorus is a bit less inspired and interesting, with kind of boring call/response and arpeggios going on.

Can I bop to half a song in the car?

Steve:

You can definitely tell that they’re aiming straight for the gay dancefloor crowd with this one.

Steve:

I mean, it hits all the right beats. It’s a solid number. It’s catchy.

It has a few odd lines, but overall, it brings its vibe remarkably well.

It’s solid, but probably not one of my top, top favorites.

Steve:

Yeah, we’ve got lots of faux gospel choral backing vocals, and all the right chord progessions to scream “bland and upbeat.”

I love that Emma Muscat needs people to remind her who she is when she falls down so she can get up again. I wonder how often she forgets her identity. I guess maybe she is singing this song in the hopes of remembering.

Doesn’t do it for me, but it’s inoffensive enough.

Steve:

To address a thought I’ve been having for a while: is the lesson our entrants learnt from Maneskin’s win last year that the surefire way to Eurovision success is to send… a bland song with some guitars in it?

Like, c’mon, please treat that as a fluke and send more… non-rock stuff?!

Anyway, this sounds like it’s trying to sound like a ’70s rock song, except more like an 00’s band trying to sound like a ’70s band, which from the ’20s… is probably not that unusual of a point to hit.

The backing track could be pleasant enough, but it doesn’t really go anywhere. Just repeats and pans out. Meanwhile, I’m certainly not into the lyrics. I don’t think Achille Lauro is qualified to sing from the perspective of a female sex worker. And, though I have no desire to see any more of his body than he already showed in the video, I think he ought to at least pole dance or take his pants off if this is his lyrical topic of choice.

Steve:

What is the secret to Megan Markle’s healthy hair? What’s the point of having an unhealthy mind in a healthy body? Will God grant me health, because I sure don’t have insurance…

These questions (and more) are raised by Konstrakta’s entry, a song which pokes at really important topics with its pointed lyrics, but which provides no easy answers, no cliched overriding message. And moreover, it provides a sick dance beat.

I am immensely pleased that this song exists, I just feel like it is the complete package in terms of lyrics, ideas, music, and performance.

I’m also so glad it’s in Serbian, and that I can certainly understand some of the simpler repeated refrains (“biti zdrava” ~ “to be healthy“) because it means that when I repeatedly listen to this in the coming months, I am also gettin’ some language practice in.

Steve:

We open in piano ballad-ish territory. Combine that with the title, and I’m fearing the worst, but really, we build into a rather splendid, soulful breakup ballad.

I think it really works, and these are the three things I like the most about it:

• The use of “nooo!” as a refrain. It’s sung with serious energy, and it’s something I can imagine singing along to, which is great.
• The strings
• The guitar riff as a counterpart is just nice.

Overall, I’m feeling this a lot more than I thought I would.

Steve:

As an amateur synth-spotter, I’m happy to see some modern issue Moog & Prophets in the vid, even though they are definitely not always being played for real. Ditto for the bowed guitar, what a cool effect, but definitely not as present in the audio spectrum as the visual one. Would have loved more of all of those.

Other than that, I guess my main point of critique would be the vocals. There’s nothing wrong with them per se, but I feel like they aren’t quite as memorable as… well, a lot of other entries.

The music though… Chelsea nailed it. Def euro club vibes, and I am here for it.

Steve:

My expectations: a handsome man sings a bland ballad.

Steve:

Reality: I don’t really know if Stefan is handsome or not. The cowboy hat is hiding most of his face almost all of the time.

And yes, I did just say cowboy hat. This song is basically a hybrid between a mid-tempo ballad-y Eurovision song and… a spaghetti western.

Main point against it is that the chorus (or pre-chorus, but the initial refrain) just saps a lot of the song’s momentum (and makes no sense… why would you need to sing for all people, great and small).

Besides that, the song is a lot better when the drums come in. They are sorely missed in the first half.

I loved the image of a coffin being buried labelled “Hope,” and I’ll leave the apperance of the title in the song lyrics for Chelsea to discuss..

Steve:

Wikipedia says it was filmed in Spain.

Steve:

I love the lyrics. “Bye-Bye Fool” is such a good refrain for a self-empowerment screw you guy love anthem. And, I am personally a fan of probably any song that tells the loser ex they should go please themselves and that self-pleasure beats their love… Because, that’s a very nice burn to express, and one that doesn’t come up all that often, but is definitely a valid dig.

Musically, I’d say we’re in 10’s dance territory. My main criticism is that the song is a bit too static, with its repetitive ramp bass and maybe a bit too much compression ensuring that the different elements don’t have as much space in the mix as they could. The song just sounds a bit samey, and that’s a shame.

Good work, Brooke!

Steve:

This song is Montenegro’s return to the competition after a three year absence. Normally, I’m all for having as many countries as possible in Eurovision, but if their entry is anywhere near as limp and inspid as their last (2019’s “Heaven”), I might wish they stayed home instead…

Steve:

Whoops.

Steve:

Is this song about air pollution? In any case, the lyrics would be a lot better if I understood them less. I would love to hear some Montenegrin, and have another good song for language learning listening practice. Instead, I get to learn about how the air is what they need to breathe. Hurrah.

This has some elements I really like, and a pretty decent beat, but I am not feeling it.

Steve:

This one isn’t one of my favorites, but there’s a lot to recommend.

First of all, I’d like Andrea to hook me up with her hairstylist, because I feel like we could have a good time together.

Second of all, I like the vocal performance.

Third of all, I love the way that most of the music video is shot with her moving through a city, often with rather long focal lengths and some bokeh for a rather disorienting feeling. And indeed Skopje (if that’s where this was filmed) looks exactly like I imagined it would…

For the negatives, I’m not really into the conversation/situation baby/already rhymes. The music is also rather throwbacky, except for those snare rolls on the beat which are definitely in vogue. I feel like it hits some ballad-ish bingo squares but doesn’t commit, and instead is just a bit too repetitive and melodidcally flat.

But hey, I still dig it. Maybe it will grow on me.

Steve:

I haven’t heard such a banger about… suicidal thoughts and wanting to absolve oneself of responsibility in a long time. We get some real nice crooning and piano, and an excellent beat in the chorus with lovely string counterpoint to the melody. Also worthy of note: Ochman’s great falsetto.

My only complaint is that the bridge and its key change are really quite jarring and unnecessary.

Steve:

Oh yeah, wow, I didn’t think of that, but I can definitely see it.

Steve:

Yep, plus I think that’s the part that sounded most like wanting to end life…

Steve:

I’d say that Romania is just trying to be Spain, but they are instead being someone who has just sat through their first three days of Spanish class, and knows how to say “call me baby.”

The whole time I was listening to this, I was wanting to be listening to Israel’s entry again, because it’s a far better club banger with *slightly more* substance and no atrocious costuming.

Steve:

Okay. Here we are again with yet another song about wanting someone in a relationship that won’t work out…

I liked this a lot more then Sweden’s other recent entries, so that’s something, but I wish the pumping synth bass came in earlier than half-way through the song. I think Cornelia has a lot of charisma and performs the song well, and I like it, but I don’t love it.

Steve:

When more and more countries started to join Eurovision, the format was altered so that most had to qualify to appear in the final. (Apparently, most people don’t think 40 performances of 3 minute songs plus all the set up, teardown, and hours of putting numbers on scoreboards would be an appropriate length for a show…)

However, the countries that fund the European Broadcasting Union the most automatically get included in the final.

This absolutely has nothing to do with the quality of their songs. In fact, automatic finalists Germany, Spain, and the UK were rock bottom in last year’s rankings, with the UK getting a coveted (?) 0 points from televoters and 0 points from the juries for a total of… null.

Will the UK redeem themselves?

Will Germany give a fuck and try to win?

Will Spain produce something neither boring, nor ear-wrenchingly horrible?

Can Italy win twice in a row?

Will France do something worth writing about?

Let’s find out!

Steve:

I am thrilled that this was France’s entry!

It feels a lot like an early ’10s club banger with some cool instrumentation here & there. Maybe a tad overdone, but who’s not to love some dancing with the devil.

Steve:

So Malik looks like he’s about 20, and he’s singing about wanting to go back to that time in the past when “we used to be the rockstars.”

Is he nostalgic for being 15, or something?

Steve:

True.

This song sounds like something that someone could play at a middle school graduation, but like a song that even the most tasteless of soccer moms would help boo off the P.A. system.

In its favor are two things: 1) the rap breakdown, which is just so overly emotional for no reason – I love it, and 2) the fact that the beat has a lil bit of a bounciness to it, which really makes it a lot better.

Steve:

Okay, maybe it’s not bouncy. I just think they picked a good kick drum sound.

Steve:

Right off the bat, it’s worth pointing out that Italy has been here before. 2019’s “Soldi” was an absolute standout, and would have been a well-deserved Eurovision winner. He absolutley brought it with a passionate peformance too.

(Incidenally, I would have much preferred an Italy victory in 2019 and a Netherlands victory in 2021, but that’s just me.)

I don’t think they’ll hit those heights this year, but my expectations are still pretty damn high.

Steve:

It makes me happy to hear Mahmood’s voice again, and I love the harmonies. The chorus struck me as a tad grating at first impression, but it grew on me.

Overall, this is a really heartfelt number, and a beautiful duet, and I am happy to see it in the final.

Steve:

Never have I ever heard of anyone propositioning someone by inviting that someone to film the propositioner’s hypnotic booty shake in slow motion for later careful inspection.

Also, how I get how Chanel is breaking hearts, but hips!?

Steve:

Well, I think it’s a better Spanish dance song than Romania’s (no surprise.)

I find it neither boring, nor unpleasant, but it’s definitely a little off. But, I’m too hypnotized by the booty to say much else.

Steve:

Oh, so you didn’t find the hook “booty hypnotic” memorable? It’s all I can find to talk about.

Steve:

Sam imagines himself as a lonely astronaut, wanting nothing more than to return to a forelorn lover.

I can only hope that said forelorn lover is someone like Brooke, who scoffs at him and awards him 0 points for his Eurovision entry, continuing the UK’s streak at the bottom.

This is less bland than Michael Rice, but having long hair doesn’t make the song better. I wish it did, but it doesn’t.

Steve:

So, with all that said & done, how do we feel about the songs?

I would be absolutely thrilled to see Serbia win Eurovision in 2022. I would be stoked if it were Ukraine, Moldova, Georgia, or Italy.

I would gladly, gladly never listen to Austria, Bulgaria, Germany, San Marino, Switzerland ever again.

What would your tops & bottoms be?

Steve:

I’m shocked by that too, but she does have such an intoxicating voice.

I’m happy to see that we’re so aligned in hatred for Bulgaria, Switzerland, Germany and San Marino, but Greece is an absolutely acceptable entry, and one that I will make sure to bop in the car at some point… y’know for the purpose of delighting any riders I might have.

I mean, who doesn’t want to have their driver put on a song about how we should “Die Together.”