#ktheju tokës
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Out here wishing the 2023 European and Australian Juries and Televoters came together to make her win like Loreen
Jonida Maliqi - Ktheju Tokës
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#eurovision#esc#eurovision song contest#eurovision albania#esc albania#eurovision 2019#eurovision song contest 2019#esc 2019#jonida maliqi#ktheju tokës#albania 2019#Youtube#loreen#esc 2023#eurovision 2023#eurovision song contest 2023
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One Final ESC 2023 Thought: Favorite Songs From Each Country (participating AND non-participating)!
AAAAA I'M SO SORRY FOR DISAPPEARING OFF THE FACE OF THE EARTH FOR A WHILE! I just...never got around to my finale before we get to some fun Junior Eurovision 2023/Eurovision 2024 stuff! So here is my finale: Where I share my favorite songs from each country in Eurovision from 2009 to the present.
So, how is this going to work? I'm going alphabetically because it's easier to do it like that. I'm giving you my top 2 from each country, but not the placements. If you want those, they're on the Eurovision website (I will put the year down though). Now, let's get to it!
Albania: "World" by Lindita (2017)/"Ktheju Tokës" by Jonida Maliqi (2019)
Andorra: "La Teva Decisió (Get A Life)" by Susanne Georgi (2009)
Armenia: "Future Lover" by Brunette (2023)/"Not Alone" by Aram MP3 (2014)
Australia: "Promise" by Voyager (2023)/"Sound Of Silence" by Dami Im (2016)
Austria: "Who The Hell Is Edgar?" by Teya & Salena (2023)/"I Am Yours" by The MakeMakes (2015)
Azerbaijan: "Hold Me" by Farid Mammadov (2013)/"Fade To Black" by Nadir Rustalmi (2022)
Belarus: "Forever" by Alekseev (2018)/"Eyes That Never Lie" by Petr Elfimov (2009)
Belgium: "Rhythm Inside" by Loïc Nottet (2015)/"The Wrong Place" by Hooverphonic (2021)
Bosnia & Herzegovina: "Korake Ti Znam" by Maya Sar (2012)/"Ljubav Je" by Jalal & Deen/Ana Rucner/Jala (2016)
Bulgaria: "If Love Was A Crime"/"Na Inat" both by Poli Genova (2016 & 2011 respectively)
Croatia: "Guilty Pleasure" by Mia Dimsic (2022)/"Tick Tock" by Albina (2021)
Cyprus: "Alter Ego" by Minus-One (2016)/"El Diablo" by Elena Tsagrinou (2021)
Czechia: "Lights Off" by Domi (2022)/"My Sister's Crown" by Vesna (2023)
Denmark: Øve Os På Hinanden" by Fyr og Flamme (2021)/"Only Teardrops" by Emmelie de Forest (2013)
Estonia: "Goodbye To Yesterday" by Elina Born & Stig Rastä (2015)/"Rändajad" by Urban Symphony (2009)
Finland: "Something Better" by Softengine (2014)/"Jezebel" by The Rasmus (2022)
France: "L'enfer et moi" by Amandine Bourgeois (2013)/"Évidemment" by La Zarra (2023)
Georgia: "Warrior" by Nina Sublatti (2015)/"Echo" by Iru (2023)
Germany: "Taken By A Stranger" by Lena (2011)/"Ghost" by Jamie-Lee (2016)
Greece: "Die Together" by Amanda Tenfjord (2022)/"Aphrodisiac" by Eleftheria Eleftheriou (2012)
Hungary: "What About My Dreams?" by Kati Wolf (2011)/"Running" by Andra Kallay-Saunders (2014)
Iceland: "Hear Them Calling" by Greta Salome (2016)/"10 Years" by Daði Freyr (2021)
Ireland: "Playing With Numbers" by Molly Sterling (2015)/"That's Rich" by Brooke (2022)
Israel: "Same Heart" by Mei Finegold (2014)/"Rak Bishvilo" by Moran Mazor (2013)
Italy: "La Mia Città" by Emma (2014)/"ZITTI E BUONI" by Måneskin (2021)
Latvia: "Aijā" by Sudden Lights (2023)/"Love Injected" by Aminata (2015)
Lithuania: "Stay" by Monika Linkyte (2023)/"Discoteque" by The Roop (2021)
*can't wait to see Luxembourg next year!!!*
Malta: "This Is The Night" by Kurt Calleja (2012)/"Je Me Casse" by Destiny (2021)
Moldova: "O Mie" by Aliona Moon (2013)/"Run Away" by Sunstroke Project & Olia Tira (2010)
Montenegro: "Adio" by Knez (2015)/"Breathe" by Vladana (2022)
Netherlands: "Arcade" by Duncan Laurence (2019) *CONGRATS ON 1B SPOTIFY STREAMS!*/"De Diepte" by S10 (2022)
North Macedonia: "Crno I Belo" by Kaliopi (2012)/"Jas Ja Imam Silata" by Gjoko Taneski (2010)
Norway: "Fairytale" by Alexander Rybak (2009)/"Queen Of Kings" by Alessandra (2023)
Poland: "Flashlight" by Kasia Moś (2017)/"River" by Ochman (2022)
Portugal: "Amar Pelos Dois" by Salvador Sobral (2017)/"Vida Minha" by Filipa Sousa (2012)
Romania: "Playing With Fire" by Paula Seling & Ovi (2010)/"Amnesia" by Roxen (2021)
*I would like to look into which artists do NOT support the war before sharing my favorites for Russia*
San Marino: "Adrenalina" by Senhit & Flo Rida (2021)/"Stand By" by Senhit (2011) *yes...same artist 10 years apart*
Serbia: "Samo Mi Se Spava" by Luke Black (2023)/"Goodbye (Shelter)" by Sanja Vučić ZAA (2016)
Slovakia: "Horehronie" by Kristina Pelakova (2010)/"Don't Close Your Eyes" by Max Jason Mai (2012)
Slovenia: "Carpe Diem" by Joker Out (2023)/"No One" by Maja Keuc (2011)
Spain: "Quedate Conmigo" by Pastora Soler (2012)/"Dancing In The Rain" by Ruth Lorenzo (2014)
Sweden: "Heroes" by Måns Zelmerlöw (2015)/"Popular" by Eric Saade (2011)
Switzerland: "Tout l'univers"/"Répondez-moi" both by Gjon's Tears (2021 & 2020 respectively)
Turkey: "We Could Be The Same" by maNga (2010)/"Dum Tek Tek" by Hadise (2009)
Ukraine: "Under The Ladder" by Mélovin (2018)/"Time" by O. Torvald (2017)
United Kingdom: "I Wrote A Song" by Mae Muller (2023)/"Never Give Up On You" by Lucie Jones (2017)
Thank you so much for joining me this year! Looking forward to the new year of Eurovision stuff!
#esc#eurovision song contest#eurovision#esc 2023#eurovision 2023#esc2015#esc2014#esc2016#esc2009#esc2010#esc2021#esc2011#esc2022#esc2012#esc2013#esc2017#esc2018#esc2019#esc2020
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All My Eurovision Winners
Here I will register my winners of all the years of Eurovision. This list will always be subject to change.
1956 — 🇳🇱 De vogels van Holland [Jetty Paerl]
1957 — 🇦🇹 Wohin, kleines Pony? [Bob Martin]
1958 — 🇨🇭 Giorgio [Lys Assia]
1959 — 🇸🇪 Augustin [Brita Borg]
1960 — 🇫🇷 Tom Pillibi [Jacqueline Boyer]
1961 — 🇮🇹 Al Di Là [Betty Curtis]
1962 — 🇫🇮 Tipi-tii [Marion Rung]
1963 — 🇩🇰 Dansevise [Grethe & Jørgen Ingmann]
1964 — 🇩🇪 Man gewöhnt sich so schnell an das Schöne [Nora Nova]
1965 — 🇮�� Walking the Streets in the Rain [Butch Moore]
1966 — 🇵🇹 Ele e Ela [Madalena Iglésias]
1967 — 🇪🇸 Hablemos del amor [Raphael]
1968 — 🇲🇨 À chacun sa chanson [Line & Willy]
1969 — 🇳🇱 De Troubadour [Lenny Kuhr]
1970 — 🇬🇧 Knock, Knock Who's There? [Mary Hopkin]
1971 — 🇲🇨 Un banc, un arbre, une rue [Séverine]
1972 — 🇮🇪 Ceol an Ghrá [Sandie Jones]
1973 — 🇪🇸 Eres Tú [Mocedades]
1974 — 🇸🇪 Waterloo [ABBA]
1975 — 🇹🇷 Seninle Bir Dakika [Semiha Yankı]
1976 — 🇬🇷 Panagia mou, Panagia mou [Mariza Koch]
1977 — 🇱🇺 Frère Jacques [Anne-Marie B.]
1978 — 🇲🇨 Les jardins de Monaco [Caline & Olivier Toussaint]
1979 — 🇵🇹 Sobe, sobe, balão sobe [Manuela Bravo]
1980 — 🇲🇦 Bitaqat hub [Samira Bensaïd]
1981 — 🇩🇪 Johnny Blue [Lena Valaitis]
1982 — 🇨🇾 Mono i agapi [Anna Vissi]
1983 — 🇮🇱 Chai! [Ofra Haza]
1984 — 🇮🇪 Terminal 3 [Linda Martin]
1985 — 🇳🇴 La det swinge [Bobbysocks!]
1986 — ⭐️ Željo moja [Doris Dragović]
1987 — 🇧🇪 Soldiers of Love [Liliane Saint-Pierre]
1988 — 🇱🇺 Croire [Lara Fabian]
1989 — 🇹🇷 Bana Bana [Grup Pan]
1990 — 🇪🇸 Bandido [Azúcar Moreno]
1991 — 🇫🇷 C'est le dernier qui a parlé qui a raison [Amina]
1992 — ⭐ Ljubim te pesmama [Extra Nena]
1993 — 🇧🇦 Sva bol svijeta [Fazla]
1994 — 🇬🇧 We Will Be Free (Lonely Symphony) [Frances Ruffelle]
1995 — 🇳🇴 Nocturne [Secret Garden]
1996 — 🇵🇹 O Meu Coração Não Tem Cor [Lúcia Moniz]
1997 — 🇮🇹 Fiumi di parole [Jalisse]
1998 — 🇫🇮 Aava [Edea]
1999 — 🇱🇹 Strazdas [Aistė Smilgevičiūtė]
2000 — 🇫🇮 A Little Bit [Nina Åström]
2001 — 🇩🇪 Wer Liebe lebt [Michelle]
2002 — 🇮🇱 Light a Candle [Sarit Hadad]
2003 — 🇧🇪 Sanomi [Urban Trad]
2004 — 🇪🇪 Tii [Neiokõsõ]
2005 — 🇨🇭 Cool Vibes [Vanilla Ninja]
2006 — 🇧🇦 Lejla [Hari Mata Hari]
2007 — 🇬🇪 Visionary Dream [Sopho Khalvashi]
2008 — 🇷🇸 Oro [Jelena Tomašević feat. Bora Dugic]
2009 — 🇦🇲 Jan Jan [Inga and Anush Arshakyan]
2010 — 🇸🇰 Horehronie [Kristína Peláková]
2011 — 🇧🇬 Na Inat [Poli Genova]
2012 — 🇸🇪 Euphoria [Loreen]
2013 — 🇳🇴 I Feed You My Love [Margaret Berger]
2014 — 🇳🇱 Calm After The Storm [The Common Linnets]
2015 — 🇲🇪 Adio [Knez]
2016 — 🇺🇦 1944 [Jamala]
2017 — 🇵🇹 Amar Pelos Dois [Salvador Sobral]
2018 — 🇪🇪 La Forza [Elina Nechayeva]
2019 — 🇦🇱 Ktheju Tokës [Jonida Maliqi]
2020 — 🇺🇦 Solovey [Go_A]
2021 — 🇫🇷 Voilà [Barbara Pravi]
2022 — 🇺🇦 Stefania [Kalush Orchestra]
2023 — 🇪🇸 Eaea [Blanca Paloma]
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bonus to my rtc eurovision post from a while ago: talia edition.
i see her liking folk and ethnic music!! like obviously she loves stefania (ukraine 2022) and shum (ukraine 2021) because those are the two really best examples of that, but also think trenulețul (moldova 2022), kuula (estonia 2012), suus (albania 2012), jan jan (armenia 2009), með hækkandi sól (iceland 2022), ktheju tokës (albania 2019), and so lucky (moldova 2011) because.
there's a decent crossover with hers and mischa's because he sings one of his songs *about her* and she left him "mostly positive feedback on [his] youtube comment wall" so they probably have somewhat similar music taste
she also likes what feel like genuine expressions of love: so 10 years (iceland 2021) and think about things (iceland 2020, same guy) , together (ireland 2018) because deep down she is soft and i have to think that talia (the song) was something mischa desired to express because he knew she would love that
#her version of ''it's not cool to be homophobic since macklemore dropped same love shit was emotionally devastating yo''#is either ireland 2018 or austria 2014 (even tho that isn't explicitly ab being gay the performer is a drag queen and gay irl)#azerbaijan winning in 2011 made her heterophobic bc that song is soulless garbage argue with the wall#she's like ''if this is what being straight is consider this me coming out as bi/pan''#rtc#ride the cyclone#talia rtc#eurovision headcanons
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The right way to Win Pals And Influence Folks with Albanian Music 2024
Mero, Armand; Agolli, Ilirian; Sulo, Pëllumb (27 November 2019). "Albania Loss of life Toll Rises to 30 as State of Emergency Declared". Mero, Armand; Agolli, Ilirian (27 November 2019). "Strongest Quake in Decades Kills a minimum of 25 in Albania". Good, Richard (30 November 2019). "Plea to help Albanian earthquake survivors as Durres search resumes". Robinson, Jack (26 November 2019). "Day of mourning declared as two Kosovars amongst earthquake victims". Bami, Xhorxhina (29 November 2019). "Sheltered from Conflict by Albania, Kosovars Return Favour". International Federation of Red Cross and Crimson Crescent Societies (27 November 2019). "Data Bulletin" (PDF). Koleka, Benet (28 November 2019). "Rescuers keep working in Albanian city as dying toll hits 40". Euronews.
Mortimer, Caroline (28 November 2019). "Kosovan president caught up in aftershock when visiting Albanian earthquake victims". Kostreci, Keida (2 December 2019). "Albania Seeks International Help for Earthquake Recovery". Kostreci, Keida (30 November 2019). "Albania Search, Rescue Operation For Earthquake Survivors Ends". Ekmekçiu, Rezart (27 November 2019). "Komuna e Malishevës ngre shtab koordinues për ndihmat drejt Shqipërisë" (in Albanian). Krasniqi, Jeta (28 November 2019). "Kosovo's Heart Bleeds for Albania's Suffering". Muldoon, Padraig (30 March 2019). "Each day Digest: Jonida Maliqi performs stripped again "Ktheju tokës" and Tamta talks Eurovision outfits". raisinghopeyouthcenter.com , A. (28 November 2019). "Të dhëhat deri tani: 42 të vdekur, 45 të nxjerrë gjallë e 750 të plagosur" (in Albanian).
Semini, Llazar (28 November 2019). "Hopes fade for any extra survivors in Albania quake; 40 lifeless". Jamieson, Alastair (28 November 2019). "Albanians sleeping in vehicles at roadside to stay protected after deadly quake". Koleka, Benet (four December 2019). "Albania says rebuilding after quake won't hit different spending priorities". Erebara, Gjergj (16 December 2019). "Albania PM Requests Extension of Publish-Quake Emergency Powers". He later grew to become standard within the Albanian-talking territories and released "Want U Now" additionally in Kosovo and Albania. Between the mid-14th and the late 15th centuries, most of trendy-day Albania was dominated by Albanian principalities, when the Albanian principalities fell to the rapid invasion of the Ottoman Empire.
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Eurovision 2018 vs 2019
Albania: Mall vs Ktheju tokës
Armenia: Qami vs Walking Out
Australia: We Got Love vs Zero Gravity
Austria: Nobody but You vs Limits
Azerbaijan: X My Heart vs Truth
Belarus: Forever vs Like It
Belgium: A Matter of Time vs Wake Up
Bulgaria: Bones
Croatia: Crazy vs The Dream
Cyprus: Fuego vs Replay
Czechia: Lie to Me vs Friend of a Friend
Denmark: Higher Ground vs Love Is Forever
Estonia: La forza vs Storm
Finland: Monsters vs Look Away
France: Mercy vs Roi
Georgia: For You vs Keep On Going
Germany: You Let Me Walk Alone vs Sisters
Greece: Oniro mou vs Better Love
Hungary: Viszlát nyár vs Az én apám
Iceland: Our Choice vs Hatrið mun sigra
Ireland: Together vs 22
Israel: Toy vs Home
Italy: Non mi avete fatto niente vs Soldi
Latvia: Funny Girl vs That Night
Lithuania: When We're Old vs Run with the Lions
Malta: Taboo vs Chameleon
Moldova: My Lucky Day vs Stay
Montenegro: Inje vs Heaven
Netherlands: Outlaw in 'Em vs Arcade
North Macedonia: Lost and Found vs Proud
Norway: That's How You Write a Song vs Spirit in the Sky
Poland: Light Me Up vs Fire of Love
Portugal: O jardim vs Telemóveis
Romania: Goodbye vs On a Sunday
Russia: I Won't Break vs Scream
San Marino: Who We Are vs Say Na Na Na
Serbia: Nova deca vs Kruna
Slovenia: Hvala, ne! vs Sebi
Spain: Tu canción vs La venda
Sweden: Dance You Off vs Too Late for Love
Switzerland: Stones vs She Got Me
Ukraine: Under the Ladder vs Siren Song
United Kingdom: Storm vs Bigger than Us
2018: 22 vs 2019: 20
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Albania in Eurovision: my top 3 songs of the last decade (2014-2023)
2018 Eugent Bushpepa "Mall"
2022 Ronela Hajati "Sekret"
2019 Jonida Maliqi "Ktheju tokës"
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ESC acts that surprised me with how much I love them!
Latvia
I don't usually hyped about Latvian entries, unlike other people here and this entry really got to me. It reached my top 10 instantly. Something that hasn't happen since Love Injected in 2015. It's artistic but not to the point of elitist "you commoners won't get it" sort of way. I can really conncect it's chaotic yet soothing vibe.
Favorite part:
"Aijā, aijā
Saldā miegā"
Armenia
I don't think I ever loved an Armenian song this much! Brunette has a presence like no other. She has this way of alluring you into what she's gonna say and think it's the most important thing in the world even if it's nothing. She could sing "happy birthday" and it will be enchanting. And I know from first glance you hear that "look good" part and cringe. But I choose to look at it differently - I see it out of mental health perspective. Well, probably cause I struggle a lot with my mental health. And to CHOOSE to be good, do good & look good (i.e - not be a fucking mess all the goddamn time) is such a fucking struggle. So I feel that shit. And I also feel the craving for someone that will just love you as you. That you won't have to pretend around. That your love will be "quiet outside, but loud inside". And I think that rap bit kind of show that - this feeling of being overwhelmed and feeling attacked by 200 emotions all at once. I may read too much into it though.
Favorite part:
"U du indznits' herru
Lk'vats yes heruu, berry yes du
Yerazums yes u du eink' lurr
Molorvum eink' herru - herru herrvum"
Albania
There's always something so middle-eastern (dare I say Arabic?) in the Albanian songs each year that I abouloutly LOVE. That unapologetic powerful aura just does it to me. My favorite one btw is Ktheju Tokës from 2019. But there's something this year, the whole idea of the whole fucking family on stage singing about family love and how easily it can be lost; it's just goes so deep for me. I seriously cannot explain just how much it touches my heart.
Favorite part:
"Diçka mrena Frymën ma nal'
S'di çka bohet, bohet
Pi du me e nal'
Ç'ka o ka bonet?"
Ukraine
I know some of you won't like it, but hands down my favorite Ukrainian song. It hit me so fucking deep. It's about resilience and acting against toxic powers (interpersonal and institutional) and just to know when to say - Enough. It's about resistance actions against powers bigger than yourself and it does it fucking well. I'm all in on it. Just fucking great.
Favorite part:
"Незважаючи на біль
Я продовжую свій бій
Світ палає
А ти - дій"
Ireland
Okay hear me out now. Ireland is nobody's favorite esc country. But this year's song is good. It has a nice vibe and message - no matter how big or small you are, for this time being, we NEED to come together. It's great and deserve a place in the top 15. Sorry not sorry.
Favorite part:
"We take our first breath
And then we exhale
Then we give it all we got
Until we fail"
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2019: Top 41
Greece: Katerine Duska - Better Love
Albania: Jonida Maliqi - Ktheju Tokës
Cyprus: Tamta - Replay
Portugal: Conan Osiris - Telemóveis
Malta: Michela - Chameleon
Italy: Mahmood - Soldi
Switzerland: Luca Hänni - She Got Me
Sweden: John Lundvik - Too Late For Love
Slovenia: Zala Kralj & Gašper Šantl - Sebi
North Macedonia: Tamara Todevska - Proud
Spain: Miki - La Venda
Iceland: Hatari - Hatrið Mun Sigra
Hungary: Joci Pápai - Az Én Apám
Latvia: Carousel - That Night
Netherlands: Duncan Laurence - Arcade
Armenia: Srbuk - Walking Out
Norway: KEiiNO - Spirit In The Sky
Romania: Ester Peony - On A Sunday
Poland: Tulia - Fire Of Love
Belarus: ZENA - Like It
Austria: Pænda - Limits
San Marino: Serhat - Say Na Na Na
Serbia: Nevena Božović - Kruna
Israel: Kobi Marimi - Home
Australia: Kate Miller-Heidke - Zero Gravity
Montenegro: D-Mol - Heaven
Estonia: Victor Crone - Storm
France: Bilal Hassani - Roi
Ireland: Sarah McTernan - 22
Azerbaijan: Chingiz - Truth
United Kingdom: Michael Rice - Bigger Than Us
Czech Republic: Lake Malawi - Friend Of A Friend
Belgium: Eliot - Wake Up
Finland: Darude & Sebstian Rejman - Look Away
Lithuania: Jurij Veklenko - Run With The Lions
Germany: S!sters - Sister
Georgia: Oto Nemsadze - Keep On Going
Russia: Sergey Lazarev - Scream
Moldova: Anna Odobescu - Stay
Croatia: Roko - The Dream
Denmark: Leonora - Love Is Forever
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Ktheju Tokës - Jonida Maliqi (2019)
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albania
🇦🇱 jonida maliqi - ktheju tokës
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The Another ESC Site Award for Spellbinding beauty
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I am beginning to look forward to Albanian entries. They have a national final that celebrates all kinds of music and the best song truly wins. They do not follow the ‘formula’, they don’t pretty them up, they don’t hide their culture and they come out with the most exciting vocals (except the 2013 effort - what was that?). Which brings us to Jonida.
Jonida’s song was all drama. They dressed her in a manner that was true to her song. The more you look at her appearance, the more you find and the more you appreciate it. The performance did not look or feel like anything else which made it captivating to watch. Jonida’s vocals were rich like a chocolate sauce with emotion and I wanted to know what she was performing about.
Granted, the final version was not as good as the semi final performance, but still. Another good year for Albania.
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#jonida maliqi#Ktheju tokës#albania#esc#eurovision 2019#2019#ieeehrovision#eurovision#tel aviv#israel#second rehearsal
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Ktheju tokës and Ethnomusicological Tidbits
Hello Europals and all!
I made a remake for Jonida Maliqi’s song “Ktheju tokës” (words and music by Eriona Rushiti). I’ve loved the song for a long while, though I didn’t hear it until pretty deep into the national final season. In this entry, I wanted to point out a few things that I found to be most interesting about the original song and what I wanted to achieve with this remake!
Calls to Iso-Polyphony Tradition and Heritage
Albanian iso-polyphony has been inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity since 2008. Here is an introductory video giving examples of variations within this art form:
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In this video, two forms of iso-polyphony are discussed, split by Albanian dialect. The Tosk regions (the southern part) is known for a drone - a long held note - that is “always continuous and sung on the syllable ’e’, using staggered breathing”, according to the UNESCO site.
The use of this very ethnically salient art form suggests that this song oozes Albanian nationalism even outside the lyrical content, which urges the Albanian diaspora to return to Albania to fix issues within the state that have existed since even before the Hoxha Communist reign. (interview for source)
Changes in each revamp
Besides the final stage version of “Ktheju tokës” (3), two other versions were played in public - the original studio version of the song (1), available here, and the live version with orchestra, performed during the first night of the show as well as during the final, as shown here (2). While the final revamp did not come to be until about 3 months after the show’s end, the framework for the final revamp was already in the making. Among them are:
Strong percussive elements. In the first version, the idea for the opening verse was already established, though the mix was changed in the final mix. The interlude between the verse and chorus also originally had a busy programmed cymbal part that was removed in the final version. The transition back to regular drum patterns in the second half of the verse (after the mid-song instrumental following the chorus) was changed in the final version, but included the first part of the sliding bass and cymbal parts. More bass was added in the final version as well.
The chorus is the biggest change between the first version and each successive version. The first version copies the rhythm from the verses, while the other versions use a common rock rhythm. The biggest difference between these two rhythms is the focus of accents (and claps) on different parts of each repeating pattern. See the video below for a demonstration of the two different rhythms in question:
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Much music of non-black origin - among others, big bands and classical Western music - utilize this 1 and 3 clap rhythm. However, most popular music nowadays has borrowed from black culture (jazz, blues, rock ‘n roll) and does clap on 2 and 4. This is what the new rhythm does, and it drives the chorus more than the original rhythm does, even as Maliqi claps on 1 and 3 in a capella fashion during her press conference here. However, the kind of a cappella she was doing was more in line with classical and (white) folk music, which does focus on said beats.
Mix. From the beginning, there are differences between the two studio versions. (The live version will not be discussed as much due to the numerous differences between live and studio mixes.) Besides the slightly different drum sounds used and the repeated parts removed for time considerations, the revamped version markedly reduced reverb. Reverb is an effect which in conjunction with delay makes an audio signal sound like it is being played from some type of space - cathedrals, studios, halls, etc. Less reverb usage makes a signal sound more focused, which the revamped version does seem to be. The male belt voice in the choruses was not in the first versions of the song but was rather added in, and the chanted Clannad-like “Ktheju tokës” in the ending was mixed higher in the final version as well.
Everything in the previous versions, while still good, were even further refined in the final version, and it added to the overall effect of the song.
Dynamic contrasts
In all three versions, the beat after the lyric “shpresë” in both verses is accented in all instruments. Dynamic contrasts such as those played here play a role in creating drama in any musical contexts. Beyond the music, the dynamic (volume) level in the vocal parts - between head voice and a very throaty belt - also add to this drama, which fits the gravitas of the subject matter.
Articulations such as legato and rhythmic accents also add to this dynamic contrast. For example, the interlude between the full verse and first chorus was sung in a much more connected (legato) fashion, while the live and final versions used much more staccato (sharply detached singing, more or less), which is both harder to do and gives each note more emphasis by design. Similarly, the triplet accent in the bass and drums on the second “shpresë” really emphasizes their rhythms and the vocal rest right after the rhythms turn back to verse 1 rhythms along with the bass. The dynamic contrasts really add feeling in songs when used effectively and even give playback performances a livelier realization.
Polytonality
Ktheju tokës is in D# (D-sharp) minor throughout. However, there are several considerations when addressing minor keys, in particular when it comes to classical music and songs based off of a classical vocabulary. Each minor key has three forms - the natural form and two forms made to compensate for harmonic and melodic tendencies in the Common Practice style (think 18th-19th century classical music for greatest concentration of said style). The note right below the key note - in D# minor, the key note is D#, so the note right below is usually called D (C𝄪)* - leads up more strongly than the normal note C# (which is further away from the key note, also known as the tonic) and is called a leading tone in music theory parlance. The verse melody follows in this melodic minor pattern with the D (C𝄪), but the higher electronic loop that plays throughout the second verse fragment as well as the bass both play the C# found in natural minor. A similar effect is found in Jimi Hendrix’s Purple Haze, and the chord in question - 7#9 - has definite uses (see here for examples). However, this usually implies that the equivalent to the C# is higher in frequency than the equivalent to the D (C𝄪), and in this case, it is not. Therefore, this part in Maliqi’s song sounds far more unsettling and can be argued to be an example of polymodality.
Polytonality, as Adam Neely explains in the video below, is defined by the presence of two different sets of notes playing at the same time, which can be used for comedic or unsettling effect. Polymodality is a related but more specific concept, where the home notes of both sets are the same. In this case, both D# natural and harmonic (or melodic - hard to tell without a B note in the context) minors are used. (This is a slight simplification, as it is not necessary to dive further right now. I’ll talk about that a bit more when I have written another post about “Arcade”.)
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* in this case, the sound associated with the note D actually called C𝄪 (C-double sharp) due to each group of notes in a key having one of every letter A-G in some form. That’s a long discussion for another post, though, so I’ll try to keep it as simple as possible.
About the remake
I transcribed most of the song and was really struck by the pain and yearning for fellow countrymen to come back home, so I wanted to capture that feeling of mourning and some type of motherliness while also keeping to my classical roots. I found it harder to keep the polytonal sections, but instead reharmonized and used the instruments I was most familiar with. I did most of this on the road - working slowly on adding more real(istic) instruments (and vocals, and by golly, they’re difficult to sing) and can post here later.
Overall
This isn’t a typical pop song by any stretch of the imagination, and its very ethnically salient elements may contribute to its divisiveness outside the Albanian community. However, to the numerous Albanian diaspora scattered worldwide and to musicologists alike, it holds a lot of deep and fascinating elements that blend folk culture with modern touches, and a call to come back home.
#music theory#musicology#ethnomusicology#music#cover#music cover#adam neely#eurovision#albania#iso-polyphony#albanian iso-polyphony#albanian isopolyphony#isopolyphony#jonida maliqi#ktheju tokes#ktheju tokës#eurovision 2019#counting#music remake#remake#eurovision covers
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20 - Albania 🇦🇱 - Jonida Maliqi - Ktheju Tokës 😊
Praise to Jon Ola. An ethnic power ballad by a strong female vocalist won FiK and wasn't revamped to English and made worse! They're learning!
This song creates such a haunting atmosphere in the first bars. The percussion feels so raw and powerful. Jonida's vocals are beautiful. I don't know the correct term but the parts where she's "wailing" are just astonishing.
And the woodwind. Oh my god.
The orchestral version was a mess but the Eurovision edit feels much cleaner and effective.
I feel like the juries should support this, especially since they liked Eugent so much last year. Hopefully it should be enough to pull them through to the final. It does concern me a little that this comes just after Russia. And they're both going for a "powerful, raw emotions, strong vocals" vote.
Also, a challenger for worst cover art but I don't think this quite beats Serbia.
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ESC 2019 Reviews - Albania
Semifinal 2, #14 - Jonida Maliqi, "Ktheju tokës"
This may be in the final batch of songs we review, but this was the song most fans heard first - and generally positively reacted to - in the 2019 Eurovision season. “Ktheju tokës” (Eng: “Return to your land”) is the entry of miss Jonida Maliqi, a hugely successful (and beautiful) Albanian songstress whose history with Festivali i Kënges dates back to 1995! She sang a duet at 13 years of age with Aleksander Rrapi (the song is… odd for 1995 standards), and while Albania didn’t get involved with Eurovision until ten years later, she participated in FiK a further nine times. Most of these participations happened prior to 2007, so 2018’s song (and win) must have come as quite the surprise for her!
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Then again, should it have? The song got a lukewarm reception, just like Mall did -- but without a field of comparison, you could really only rate it as a standalone product. This is a true Balkan ballad with ethnic Albanian instrumentation; I absolutely adore the percussion in this song, and it is the driving force behind the entire track. The thumping drum set opens the song with some unsettling vocals from Jonida; it’s an unsettled but vulnerable voice. The opening line, when translated, says “You sing and cry - in your hands you gather the tears”. Inside the mix of electronic flourishes are orchestral hits and ambient background vocals and her voice really shines during the chorus.
From an outsider’s view, there are a lot of parallels between this and “Scream,” which is the Russian entry that comes just before this song. It’s a peculiar placing in the running order, given the similarity in theatrics. But the difference is that I can’t always tell what’s going on - everything is shrouded behind metaphors and interpretation. The lyrics of the song are about returning to your home land and going back to the place you are from (where your heart lies). But visually, the metaphors are culturally high art. Jonida isn’t consistently selling the message, even in Albanian; there’s a feeling of pain here that wasn’t necessarily present in Sergey’s song, but she mostly stands still while singing. Non-Albanians won’t know what it’s about but do come away with a sense of sadness and pain.
However, she is *always* on point vocally. If you are a true fan of thematic Eurovision songs like Molitva or last year’s Oneiru mou, then this is the song for you. I love it a lot more than I thought I would, which is a great thing. I wouldn’t put it in my Top 10, but it is a song that I’m hoping will qualify on the power that it’s the only fully non-English song in this semifinal and because it feels authentic. A song that sounds great but doesn’t feel authentic will always drop the ball harder than a song that’s foreign but *real*. The conservative rating reflects this; she’s got space to grow, but this isn’t a performance or song for mainstream listening.
I must also say, as an aside, that Albania’s now had two straight years of sending songs in Albanian that I felt were miles above in quality than the previous attempts when translating into English. For some song styles it’s not always sensible to keep the native language, but for songs like this, it’s essential to my enjoyment.
The video cleverly ends with “To be continued at Eurovision 2019,” and I will look forward to seeing and hearing the story’s conclusion at Tel Aviv!
My Rating: 6.5/10
Rank: 15th of 41
#albania#esc#esc 2019#eurovision#eurovision 2019#eurovision song contest#ktheju tokës#jonida maliqi#albania 2019
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