Music Review: Karmin "Brokenhearted"

    Karmin

    Brokenhearted

    Album:  Hello

    Year: 2012

     Amy Heidemann waits for her date to call her back in the mimicking  “Brokenhearted.”

      A skittish guitar opens the single, setting a nervous tone. Heidemann has been countless dates. She finds herself bored by men cracking corny jokes or rolling her eyes at the ones who treat her like she’s an employer, answering with pre-planned responses. However, the guy she went out with a couple nights before talked about his interests and tried to keep the conversation moving. At the end of date, he put his hands around her waist and made out with her on her doorstep. In her mind, she can still the feel sensation his lips upon her own.  In the meantime, she keeps checking her cellphone. (“This is more than the typical kinda thing/Felt the jones in my bones when you were touching me, uh oh/Didn't wanna take it slow/In a daze, going crazy, I can barely think/You're replaying in my brain, find it hard to sleep, uh oh/Waiting for my phone to blow/Uh oh yep.”)

        In the pre-chorus, she doesn’t know if she should continue to wait for his call or call him, pretending to be casual. She walks to the family room to her bedroom and back again, listening for her phone. It’s gotten her upset. She really likes him. (“Now I'm here in a sticky situation/Got a little trouble, yep and now I'm pacing/Five minutes, ten minutes, now it's been an hour/Uh don't wanna think too hard, but I'm sour/Uh oh, I can't seem to let you go.”)

         In the chorus, she starts talking out loud, “call now! Do it!” In the back of the mind, she thinks he might not like her. She’s willing to go golfing with him if that’s what will make him want to see her again. She believe they have the potential to become something. (“See, I've been waiting all day/For you to call me baby/So let's get up, let's get on it/Don't you leave me brokenhearted tonight/Come on, that's right/Honest baby, I'll do anything you want to/So can we finish what we started/Don't you leave me brokenhearted tonight/Come on, that's right, cheerio.”)

      There’s a mini-bar she set up right by her kitchen. She grabs a full bottle of Patron and a shot glass from her cabinet. She pours two shots, letting the liqour settle into her lungs and forgets about the time for a little bit. (“What's the time, such a crime/Not a single word, sipping on a Patrón/Just to calm my nerves, uh oh/Poppin' bottles by the phone/Oh yeah.”)

        In the pre-chorus, she’s gone through a gamut of emotions today. Anger: at him for not being honest with her. Hurt: she believed him when he said that he would call. Happiness: for possibly dodging a bullet. (“Had me up, had me down, turn me inside out/That's enough, call me up/Maybe I'm in doubt, uh oh/I don't even think you know, no no.”)

        The chorus is sung again.

          In the bridge, she reiterates she would agree to a monster truck rally. She would put on a smile and then plan to go somewhere else fun later. She begins to second guess herself, thinking about the ivory lace skirt  and black blouse she wore. It’s the first time she’s been rejected and brags it’s not something she that worries her. (“Anything you wanna do, I'll be on it too/Everything you say is like go with the view/Business on the front, party in the back/Maybe I was wrong, was the outfit really wack?/This kinda thing doesn't happen usually/I'm on the opposite side of it, truthfully/I know you want it so come and get it, cheerio.”)

         The chorus is sung again.

          In the final chorus, it’s almost ten p.m. and she hasn’t heard anything. She hopes that maybe tomorrow he will call. She would love to have a relationship with him. (“ When you gonna call/
Don't leave me broken hearted/I've been waiting up/Let's finish what we started, oh oh/I can't seem to let you go/Come on, that's right, cheerio.”)

  Heidemann’s  homogenous,  pilfering vocals snatch a bit Kesha’s rapping in the first pre-chorus and bridge and Katy Perry’s throaty belts for the chorus. Again, Nick Noonan is irrelevant.

    The drifting “Brokenhearted” follows everyone else, unable to think for itself.