Review: “UMK 2025” (Finland)

Finland will select its Eurovision 2025 entry via “UMK 2025″.
The final will be held on Saturday, February 8th.
The results will be based on a 25% international jury vote and a 75% public vote.

I will review the 6 competing songs in the national selection:

#1. Neea River – “Nightmares“

It’s a pop house song with influences of the 1990s music.
The song opens with the violin playing. Neea opens the song with a mid-tone voice. The melody is based on keyboards playing while we hear pre-recorded backing vocals. It slowly builds into a faster pace. The pre-chorus is based on speedier keyboard playing. The first chorus starts more symphonically. The melody is based on orchestral string elements and touching voice. The keyboards are brought back in as it progresses and the dance-house beat kicks in. The chorus ends with an instrumental part composed of house beats and a cyclic keyboard piece.
The second verse continues with the same beat. She sings slightly lower. The production suggests a more danceable direction. The second chorus arrives right after. This time, the singing is more powerful. The melody is based on a combination of violin, keyboards, and an electro-dance beat. The bridge started more laid-back, with the focus on her singing. The last chorus is more pompous. the beat reaches its peak, as well as the vocal show-off.
Overall, it is a song I enjoy listening to. It reminded me of “Everytime We Touch” by Cascada. One of the main advantages here is her singing, which elevates the song. The chorus is pretty catchy. There’s nothing innovative about it, but at least it isn’t a pale copy of other songs.

#2. Nelli Matula – “Hitaammin Hautaan” (Eng: Slower to The Grave)

It is a pop song influenced by 1980s music, performed in the Finnish language.
The song opens with a sampled keyboard playing. Nelli introduces us to the song with a beautiful angelic voice humming. The first verse is based on a slow beat, sampled keyboard playing, and violin sound. The first verse is quite slow, letting her show us the layers of her voice. The first pre-chorus is quite short and more sparse. The first chorus has a sweet interpretation; the melody is dreamy and based on keyboard playing and a continuous beat. The chorus has two identical parts. It ends with vocal humming, as in the intro.
The second verse is served with more tempo. Her singing is still soft and pleasant. The melody is based on keyboards. The chorus is more electronic, and we get more backing vocals this time. The hum builds into a bridge, which starts with raw singing that is empowered by the sounds of ticking clocks and drums. The last chorus is performed more powerfully.
Overall, the song sits on the narrow field of nostalgic 1980s pop and new-age pop. Nelli sings it emotionally and meaningfully. The production is sharp and the songs are extremely memorable. Well Done!

#3. Costee – “Sekaisin” (Eng: Tumbled)

It is a mid-tempo indie-pop song in the Finnish language.
The song opens with pre-recorded vocals and electric guitar stringing. Costee opens the first verse with a half-husky tone of voice. The melody is based on a quite constant loop. The pre-chorus is faster and builds some mystery layers. However, the chorus let me down with a much lower energy. The melody is based on guitar playing, with sampled strings.
The second verse is more upbeat. His voice is dressed with some effects like a vocoder. The second chorus comes right after. This time, we can hear more of the string elements alongside the guitar. The bridge is built on a mixture of humming and backing vocals. The last part starts more unplugged and then drums are added.
It isn’t a bad song, but it’s not catchy enough. The chorus is significantly weaker than the verses. I guess it just passed by me.

#4. VIIVI – “Aina” (Eng: Always)

It is a ballad in the Finnish language.
The song opens with a ticking sound, and thereafter, the piano enters. VIIVI opens the first verse with a thick mid-tone of voice. It develops quite slowly. As the first pre-chorus starts, the violin playing enriches the melody. She sings this part in higher notes. The chorus is more magical; she opens it with airier singing, longer notes, and a higher pitch. The melody is based on piano playing. The chorus continues, and the production becomes richer, involving soft percussion and orchestral elements. The second verse is based on string elements, while a mid-tempo beat accompanies the melody.
The second pre-chorus continues in the same way. The second chorus starts with longer notes; she sings it with a higher tone, but we still hear part of her lower notes. The bridge is similar to the chorus, but she performs it in a kind of modulation. It fades out with some vocal decorations, keyboards, and violin playing. The song ends with a raw production and powerful singing.
It is a well-produced ballad that resembles Disney ballads. Part of its magic is its simplicity and the native language. Proper staging will elevate the song, which will help tell the story. VIIVI is an excellent vocalist, and overall, it is a ballad done in the right way. However, I can’t see Finland picking a ballad for Eurovision (sadly!)

#5. Goldielocks – “Made Of“

It is a pop song.
The song starts with a mid-tempo dance beat with an electric guitar loop. The first verse continues with the same beat and simple guitar playing. Goldielocks suggests a unique voice color; she performs in a mid-high tone. Her singing is wrapped with several layers of effects (like vocoder and echo). The first pre-chorus is short, the beat is faster, and we get a clap-made beat. The first chorus comes right after. It is catchy, she sings in a slightly lower-tone of voice. The arrangement includes some backing vocals
The second verse is pretty similar to the first one. This time, we also hear some keyboards playing, The second chorus is catchy, this time with a greater presence of electric guitar. The post-chorus (which is also the bridge) starts with an instrumental composed of electric keyboards and string elements. She sings it somehow in a “colder” way. The last chorus features more layers vocally, with some vocal decoration. The song ends with a notable fading guitar playing.
It is one of the ear-warming songs that communicates perfectly with current trends in modern pop music (Dua Lipa, for example). The melody is quite simple but effective. One of my concerns is the many effects wrapping her voice. I am afraid the live performance might disappoint us. However, it has a global/international appeal.

#6. Erika Vikman – “ICH KOMME” (Eng: I’m Coming)

It is a rave-Schlager song.
The song ends with pre-recorded backing vocals choir. The melody is based on keyboards and a continuous beat. In the beginning, we hear a small electro drop that fades quickly. Erika opens the song with a considerably low tone of voice. Towards the end of the first verse, she uses longer notes with a higher tone. The melody is based on keyboards, electronic instruments, and sampled trumpet sounds. The pre-chorus starts more passionately with lower-registry. The rate is faster. The chords are more darker and monotonous. The second chorus opens with longer notes. The melody is based on guitarts, drums and keyboards. From time to timer, we hear the male choir singing “Ich Komme”.
The third part of the song is the strongest one. It opens with recorded applause and whistles. The guitar riffs are wilder and faster. Erika opens it with singing in a mid-low tone of voice; her voice is covered with some effects. As this part progresses, the singing becomes faster and more “aggressive”. Towards the end, it becomes a “battle” between Erika and the backing vocals. She roars and the song stops out of the blue.
The lyrics are quite sophisticated. Some may see it as “cheap” or “too sexual”. But I can see a lot of thoughts in it. The last part of the song gives the listener the experience of the most exciting part of having s*x. However, the song itself isn’t as catchy as I would want it to. I started digging into it more after the 3rd listen. Erika must “sell” it wisely with the visuals and staging.