TIME-WARP TUESDAY (on a Wednesday…oops) | A sinfully successful Hungarian debut
Where Dublin, Ireland
Who Friderika Bayer
What Kinek Mondjam El Vétkeimet?
The reasons I’ve plucked this song out of thin air for today’s Time-Warp are threefold. Firstly, Hungarian is one of my favourite musical languages (the fact that I barely understand a word of it makes it so cool and mysterious). Secondly, Hungary have thrown some great entries at us since they made their 2011 Eurovision comeback (Kedvesem is now one of my most beloved of all time) and they were responsible for a few gems prior to that too – something I wanted to celebrate. Thirdly, the country’s 1994 debut entry was both in Hungarian AND one of those pre-comeback diamonds, so I’m pretty keen to discuss it. Let’s!
Friderika Bayer was twenty-three when she stepped up to her microphone in Dublin’s Point Theatre (I’m currently the same age, so I feel very inadequate as someone yet to represent any country at Eurovision). She had more responsibility than most of the other competitors on her young shoulders, because, like Poland’s Edyta Gorniak, she was about to be the first singer from her country to appear at the contest. That carries a certain amount of weight.
Fortunately, both Edyta and Friderika debuted in style, finishing 2nd and 4th respectively. Hungary even led the voting before dropping down to that still-successful placing, and I don’t find it hard to understand why – Kinek Mondjam El Vétkeimet? (‘To Whom Can I Tell My Sins?’) is a stunning song that was accompanied by a beautifully simple and sincere performance. You can draw a few parallels between this entry and Boggie’s Wars For Nothing, despite the 20+ year time difference – both are guitar-backed, down-tempo and sentimental songs performed by vocally proficient brunettes. But Kinek… is the superior song as far as my ears and tastes are concerned. For one thing, it doesn’t send me to sleep. There’s something about the melody and the clarity-tinged-with-vulnerability sound of Friderika’s voice that draws me in, and makes me feel ALL THA FEELS.
Lyrically (yes, this non-Hungarian speaker has Googled the translation multiple times) you won’t find any pleas for peace or cheesy clichés here. Take, for example, the content of the first verse and the chorus:
Nothing is there, only the lightless night
Only the tongue-tied distress, a vain hope
No faith, no love
No one to stroke my hand
Whom can I tell my sins
To be sure that they are forgiven?
Whom can I tell my sins, my God?
This entry is proof that a song doesn’t have to be a) busy, layered, loud and freaking full of lyrics, or b) staged like it’s one’s last chance to use a wind machine, incorporate a costume reveal and do the Moonwalk whilst mowing the lawn and baking a batch of piskóta (so basically, Amanecer) to have an impact. The entire 1994 contest, in fact, was testament to that, with a bunch of top-scoring songs being of the subtle, slow and simple variety – including Ireland’s winner. Some say interval act Riverdance stole the show, but if you look and listen a little closer, that’s not necessarily the case (depending on your attitude towards frenetic Irish dancing).
To sum up, I love this song – and judging by the applause when Friderika was finished, the audience did too. How about you?
Posted on July 22, 2015, in Time-Warp Tuesdays and tagged debut, Dublin, Edyta Gorniak, Eurovision 1994, Friderika Bayer, Hungary, Kinek Mondjam El Vetkeimet, Point Theatre, Poland. Bookmark the permalink. 11 Comments.