#KAREN HARDING

[deadcactuswalking]

REVIEWING THE CHARTS: 13/07/2024 (Eminem/Big Sean/BabyTron, Quavo/Lana Del Rey)

Sabrina may have outperformed Sabrina recently but thankfully, Sabrina has taken the throne off of Sabrina for a sixth week at #1 for Sabrina above Sabrina’s last hit, dropping to #2 thanks to a boost above Sabrina for Sabrina, leaving Sabrina below Sabrina. “Espresso” is at #1 and welcome back to REVIEWING THE CHARTS!

content warning: language, Eminem discourse

Rundown

And as always, we start our episode with the notable dropouts, songs exiting the UK top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we bid adieu to… okay, sorry, “Gata Only” by FloyyMenor and Cris Mj went from #76 to #75 to #76 in a three-week span as if they know the arbitrary restrictions I place on this series and want to pressure me into changing them. If that’s the case, what’s “read the FAQ” in Spanish? Besides that, we say farewell to a mix of older tracks and stuffed EDM collabs, as our full lists consists of: “places to be” by Fred again.., Anderson .Paak and CHIKA (which of course deserved more than five weeks), “Addicted” by Zerb, the Chainsmokers and Ink, “Yellow” by Coldplay, “Without Me” by Eminem and finally, “Prada” by casso, RAYE and D-Block Europe, which feels like it’s been here forever.

As for our returns, we see the Euros boost another football anthem back on the charts, namely the #8-peaking “Sweet Caroline” by Neil Diamond. On the two non-consecutive weeks this song peaked, Mungo Jerry and T. Rex were #1 and that should give you enough context that I really don’t need to tell you it was 1971. Alongside it, “3 Lions” is up to #20 and “Mr. Brightside” is at #58 thanks to the band playing football matches at their shows in the lead-up to this track, but once again, I’ve talked about these football songs a while back. I can’t remember the episode but you can probably take an educated guess based on whatever football tournament was happening.

When it comes to notable gains, it’s a bit of an easier job, as there’s some straightforward pick-ups for “You & Me” by Disclosure featuring Eliza Doolittle at #66, “Miles on It” by Marshmello and Kane Brown at #60, “Evergreen” by Richy Mitch & the Coal Miners at #48, “Move” by Adam Port, Stryv and Malachiii at #46, Zach Bryan’s “Pink Skies” returning to the top 40 at #40 thanks to his new album but more on that later, “Kisses” by BL3SS, CamrinWatsin and bbyclose at #26, “Too Sweet” by Hozier at #13 and Kendrick Lamar returning to the top 10 at #9 with “Not Like Us”.

As for our top five, well, for our first full tracking week under a Labour government since 2010, we already know where Starmer’s cabinet stands on pop stars, with Chappell Roan’s “Good Luck, Babe!” at #5 swapping places with “BIRDS OF A FEATHER” by Billie Eilish at #4. One thing hasn’t changed, though, and that’s drinking habits, as Shaboozey’s “A Bar Song (Tipsy)” is steady at #3, and then of course, Sabrina: “Please Please Please” at #2 and “Espresso” at #1. Now for what should be an interesting and definitely varied set of new tracks.

New Entries

#73 - “28” - Zach Bryan

Produced by Zach Bryan

As I expected, I loved Zach Bryan’s newest album, The Great American Bar Scene, which released on July 4th - fittingly - and I delivered some longer thoughts in my listening log on RateYourMusic. The account name’s exclusivelytopostown if you wish to read any more, but to sum it up, it’s definitely more of a folk and heartland rock-influenced album, going from sounding like Springsteen to well, containing the Boss himself, and it fittingly has a more observational, on-the-road feel to it as we travel across America with Zach Bryan delivering relevant anecdotes surrounding his life that seem more distant than the self-titled. It’s still personal, it’s still got a warm, organic production, but there’s an undeniable swell to it all that makes the humble road trip feel a lot grander. I prefer the self-titled in terms of having more memorable, distinct songs but this is an excellent record in itself. Thankfully, one of my favourites was “28”, his only debut as the album bows in at #16 on the UK albums chart.

There are many topics that Bryan will delve into across the record but this one, in comparison, feels like a pretty straightforward love ballad, and a very sweet one at that. Bryan tells us stories about how he went to see her family on his 28th birthday and that was the first time his left felt full and that he was truly loved on his own birthday, having a family and home that he’s been searching for his entire life, caught in a place between home and somewhere distant and unfamiliar, but now he’s fell into what might be a new home for him, and the song celebrates how real that relationship feels. This is developed on in the second verse where Bryan finds himself in a very familiar lyrical space: the dive bar’s crowded with rich people, not at all like it was when he was younger, but the smoke seeping out is still the same, he’s still playing the guitar he was gifted at 14, and being with his new partner takes him back to that space he’s so familiar with. It’s a beautiful sentiment that the homes he created from a passage of specific, frequently recurring memories have been brought back to him by the way he feels with his partner. The organic recording with some distant guitar and an overwhelming bed of strings turns an intimate set of recollections to an honest-to-God ceremony and that little lyric change from “where your old man stayed” to “where your whole heart stayed” places a really neat little bow on everything. It may not be the deepest or most powerful cuts on the latest record, but it’s one that feels so universal without sacrificing the important details that make him such a loveable songwriter. It’s one of my favourite songs of the year, and the whole album’s worth checking out too.

#71 - “I Love You, I’m Sorry” - Gracie Abrams

Produced by Gracie Abrams and Aaron Dessner

Now we’re back in some territory that I’m less familiar with and also less appreciative to see on the charts, TayLorde Rodrigo… I mean, Gracie Abrams, daughter of J.J. This is another album cut from her breakout record that hit #1 a few weeks ago, with this being a sequel to another breakup track she released in 2020. I know I’ve often made comical comparisons to other artists when discussing Abrams’ particularly derivative style but I really liked “Risk” which is similarly plainly obvious on who it takes influence with so it really isn’t just that, and there’s some promise to that: it’s similarly structured to her “I miss you, I’m sorry” whilst taking a more wistful approach, a couple years later, on the breakup and acknowledging the weirdness of still being familiar to someone you slammed the door on despite loving, and being thankful that the ex-partner still keeps in touch, albeit the connection is dwindling. I was actually somewhat liking it, even if it borderlines on easy listening, until the bridge which seems to deflect some blame onto this partner for no reason in a really immature moment that feels out of place, and also has some really obvious takes from the Taylor department (no pun intended), even down to inflections and vocal delivery. The songwriting becomes basic and childish for what seems like a lashing out moment but doesn’t really need to serve that purpose in any way. The song is about frustration but a frustration that quietly bubbles down through life, why have that moment so far into the song? It just doesn’t work for me narratively even if the idea isn’t bad, and Dessner’s utterly unremarkable instrumental backing isn’t helping matters. It’s still okay, but with some very obvious flaws I can’t really get over.

#69 - “Bring Me Joy” - Rudimental and Karen Harding

Produced by Rudimental, Billen Ted and Slim Typical

I question who in Rudimental even contributes to these songs anymore. There are two other credited acts as producers here, and they are both DJ-producer duos who can do a perfectly good job by themselves or even together, but then add Rudimental, who are a trio and get top billing, and you’re telling me nine people produced this. You could argue that maybe one of them did and Rudimental is just the more recognisable name, but all three of the members are credited as writers, alongside salute who, if you don’t know, is also a DJ and producer, meaning 10 were involved in creating this song with Durham singer Karen Harding, who last appeared on the chart in 2015. Her debut single and biggest hit, “Say Something”, actually peaked at #7. The #1 was “Uptown Funk!”, of course. Maybe this new track will revive her hit-making career and you know what’s bizarre? How I can more obviously tell salute did work on this than any of the credited producers. Sure, it’s a drum and bass track, but it’s got a choir vocal, a gentler swell of pianos and the lead vocal filtered as an intro, it sounds more like it’s introducing a salute song than Rudimental’s until we get into the weirdly-mixed lead vocal and very unsubtle stutter that spirals into a frankly wank drum and bass loop. The song basically starts on 11 with all the details thanks to the nine people on the DAW, so any attempt at genuine bombast or relief in the drop feels like bashing in some horns to an already full orchestra. In fact, for what should be a rote, inoffensive track from an easily ignorable vocalist and completely competent producer teams, it’s surprisingly annoying with just how overly produced it is. The egregious implementation of that distorted male vocal clip is out of place, the effects added to Harding’s voice are grating and at times seemingly arbitrary, it’s just all a bit gross. I really like this genre and a lot of the time, will defend more mediocre drum and bass tunes because the drum patterns make me happy or the drop is exciting, but not even I can find much joy in this, which should be saying something.

#64 - “Apple” - Charli xcx

Produced by Charli xcx, A.G. Cook, George Daniel and Lotus IV

Once again, we go back to Charli’s BRAT, an album with more mainstream influence and longevity than I expected, as we get what is now our sixth debut from the record across multiple weeks. I believe this is what the gays call "being the moment." Charli has described this song as focusing on her very complicated relationship with her parents, using the “apple doesn’t fall far from the tree” saying as its main conceit and going for a perhaps more familiar synthpop backing whilst filtering her vocals out to muffle her voice slightly, as if she’s becoming separate from her family as she finds escapism by travelling away from a family she’s constantly comparing herself to. The apple could “turn yellow or green”, accentuating both how unpredictable growing up could be and how that connection could either still work into old age or rot over time, with the third verse having her dissect the apple, splitting what traits of her that she doesn’t appreciate between her parents. It’s a clever and really open concept for the song, and whilst I’m a sucker for honest detail, the analogy is more telling depending on how you interpret it than perhaps a more down to reality vent about what is probably a feeling that couldn’t be understood by an audience that’s not specifically her. With this, I still feel the escapism of the airport but also the disappointment when that turns into a stuttering, dark clog instead of a beautiful swell in that bridge where she promises, of course, that she’s going to “drive all night”, aimlessly, realising that even if she makes her branch of the tree, she can’t escape from her family as it’s part of her. It’s not my favourite mix on the album, it can feel a bit flat and rushed sometimes, but the instrumental outro with the mantra of “do you” really places into perspective her question of asking where you even go to feel like you’re not alone, because forming a yes-or-no question out of that forces you, and her, to reckon with the idea that you don’t actually go anywhere. You’re still you, and your experiences don’t take you elsewhere, they add patches of detail to your own person. And if I’m getting philosophical, that means the song’s good or I’m insane. Probably both, and I don’t need to tell you this, but it’s definitely worth checking out even if it’s not the most sonically distinct piece on the album - for a more revealing track, it doesn’t need to be.

#62 - “Lies Lies Lies” - Morgan Wallen

Produced by Joey Moi

Well, well, look who else released country music on the 4th of July, with a special live YouTube performance video to boot which I didn’t mention in the review but is also how “28” was premiered. Even for Morgan Wallen here, the songwriting is a bit dire, which is a shame because there’s a darker hinge to the guitars here that should lead to the forestry atmosphere the smokier sound and the cool whistling should succeed at conveying. Yet the chorus is so basic and pissy, as is the rest of this breakup song, delivered in a way that doesn’t justify any of the bitterness in the lyrics or the darker sound. He kind of just delivers it like “Last Night”, which also had its toxic relationship - where the woman is mostly blamed, but at least in this one he ended things (despite his persistence that he must be the one to do so). The difference is that “Last Night” is almost sing-songy, it’s a pop song more than anything and embraces it by going for trap drums and plastic silliness instead of going deeper into country cred for what is little more than an aesthetic for something that doesn’t pull on many of its songwriting tropes. It just ends up sounding ugly and flat for no purpose when a perfectly serviceable Maroon 5 song is hidden under there, and ends up looking pretty bad for Morgan Wallen. If your country song released on a patriotic day as what should surely be a gift for your fans given its lack of connection to an existing album and no reason to start another cycle is this ashamed of being a pop song, ridden in so much interpersonal hatred that’s still vague enough to consider itself universal, largely because you didn’t write one word of it, I would be reconsidering why I made country music in the first place. Or maybe that’s just how you celebrate the founding of your great country: singing about your ex-girlfriend’s lies and deceit, alcohol addiction and hating yourself. Hell, is that saying more about Morgan or the States?

#59 - “you look like you love me” - Ella Langley featuring Riley Green

Produced by Will Bundy

Thankfully, for a week weirdly full of country songs for the UK charts, we actually have more good than bad, with - interestingly - two relative newcomers in Ella Langley, who released her first record in 2023, and Riley Green who has had much success as a writer (hence his credit on this song) but not as much in his solo career until 2019 onwards. This duet tells the story of a lonely Ella Langley meeting passionately with a lover at a bar: “you look like you love me” seems like a very forward line for a one-night stand so whilst the life after this hook-up isn’t referenced and their drunkenness is emphasised throughout, there’s definitely still some reminiscing about this rendezvous. Langley uses a conversational delivery in the verses that feels very much like a traditional story-telling country songs, the kind that my dad used to like, but returns to an undeniable sing-a-long hook every time and it just feels like magic. Despite what could be a pretty chintzy instrumental considering the piano and acoustic pick-up but it just immerses you further in the story, with the awkward dead spaces in Riley Green’s verse that make it clear this isn’t as smooth of a hook-up as she remembers, the emphasis on little clothing details like boots and Green’s cowboy hat, the fact that she goes “alright now!” before the hoedown instrumental break, it’s all quite comical in its own cutesy way that I find really endearing. Vintage, sure, and perhaps a story that’s less believable to have happened in this day and age, but it doesn’t need to be to still be a fun little story delivered really excellently. I will say that Langley is clearly much more of a presence but thematically that makes a lot of sense, and it is refreshing to see a woman be the most prominent element of the highest debuting country song this week (outside of, well, we’ll get to it), that has a separate woman credited as a co-writer. It’s a cute, heartwarming little song that I think even those who write off country music on the charts will enjoy a fair bit.

#56 - “Pink Lemonade (Str8 Reload)” - LeoStayTrill and Mr. Reload It

Produced by Xeretto and VG$ Midnight

Whilst this is “Pink Lemonade (Str8 Reload)” by LeoStayTrill and Mr. Reload It. LeoStayTrill is a rapper from South London whilst Mr. Reload It is… not the producer or vocalist so who is Mr. Reload It? It took me little time to gather through social media that Mr. Reload It, real name Alex, is a content creator on TikTok who runs a show called Str8 Reload wherein rappers come in and freestyle, and the song had already finished without me realising I was really playing it by the time I had written all that out. LeoStayTrill appears to be a content creator on his own, and I skimmed through his TikToks that have nothing to do with the song but are featured with the sound in the background and hashtags proclaiming it’s the song of the summer. He appears to be a young guy still in education - sixth form maybe? - so I can’t really heavily criticise what is a pretty generic Tion Wayne-esque drill song with bad mixing, nothing flexes and a type beat as the instrumental. I was scanning through so many of his TikToks finding some extra context for his viral hit, but it seems like just shilling for it consistently will give you enough plays with a big following, and there are definitely some very catchy parts of his verses - ironically, all outside of the chorus - that I can understand the virality. One interesting thing I picked up on was that he was defiantly explaining to his followers a word that they had gotten wrong when reciting the lyrics, and jokingly claimed that he wished to delete the song because of this mondegreen until he brought out the original project file for the song to prove this. Nearly every single one of his TikToks had this song or its shitty Jersey club remix in the background, it was maddening. Wish you the best, man.

#32 - “Tough” - Quavo and Lana Del Rey

Produced by Cirkut and watt

If anyone was going to team these two disparate artists up, it was probably Andrew Watt, though the two appear to be friendly which makes sense given Lana’s affinity for hip hop, which is seldom implemented in her music but I enjoy when it is as it ends up surprisingly smooth, especially in cloud rap and trap territory. “Summer Bummer” with A$AP Rocky and Playboi Carti is one of my favourites from her. The conceit of this collab is somewhat comical: a country-influenced song where they both try and prove themselves as “tough” in different ways, with Lana using western cowboy imagery and Quavo harkening back to his days living impoverished in Atlanta, but together, they’re beautiful. It’s very cliché and silly but I can actually connect with that as just a matter of setting the stage for this upcoming Lana country album: suspension of disbelief is important in both country and rap, and especially pop, so I like when artists play around with unfitting narratives. Lana’s vocals are in their typical wispy rasp over the twiddling folksy guitars but Quavo comes in referencing the trap beat that drives into the song he just hopped on, and whilst I did laugh the first time, he adds a bit more emotive rasp to his voice that really works, especially in balance with the more melodic flows he’s able to temper the aggressive delivery with. I also like his informing of the posturing with what he’s genuinely been through, and those two different ideas of what “tough” is between them makes their surprisingly well-done harmonising very compelling. In fact, Lana adds more to Quavo’s posturing in her verse with Huncho himself prompting her lyrics in a cute back-and-forth that makes me believe these guys are actually dating, even though if that was the case, there may not be a mutual depth to how they feel about each other here. That bridge still has a lot of great swell and deviates from what could easily be a tedious novelty if not split apart by a gorgeous interlude that sounds perfect for walking down the aisle. I’m very surprised by the chemistry here, but the dialogue in the outro, whilst obviously corny, sounds like movie dialogue from a dated film, and the way you hear him pasing her the lighter and doing a typical Migos ad-lib injects a lot of Quavo’s personality into a Lana-led song. One of my favourite details is the crack in Lana’s voice where she admits for as much as Lana appreciates the grit and roughness of Mr. Quavious thanks to his upbringing, it’s that same upbringing that makes him tell her some truths a woman like Lana may not want to hear, and I find that a really subtle but effective way of painting the lovestruck soulmates with troubling, nuanced dots. I figured something like this, especially with Quavo releasing more singles than months of the year currently, would be a rushed, comical slap-dash collab but there is a lot more thought into this duet than I expected from even Lana who never really shined outside of her introspection that much. Brilliant song.

#29 - “Tobey” - Eminem featuring Big Sean and BabyTron

Produced by marvy ayy, John Nocito, Carlton McDowell, Daniyel, Eminem and Cole Bennett

As I said with the Zach Bryan review, full thoughts on the latest Eminem comeback, The Death of Slim Shady (Coup de Grace) are on my RateYourMusic page, and thankfully, this song kind of has no relevance to the existing plotline of that album. It’s always an unnecessary stress when a song hits the top 75 and I have to either explain away the conceits of a narrative- or theme-based record that I already wrote some thoughts down on, or end up diving in headfirst to a song from an album I haven’t gotten around to hearing so I can review the one song, but ending up a bit headless thanks to my lack of context. This is a weird case because it’s a pre-album single that was released in the midweek and despite the album having a clear plot and theme you can see even in its lead single, this song has nothing to do with it and this time, it’s on purpose? “Tobey” is one of a few songs on the back-end that show Eminem is still hungry without the Slim Shady persona, and this particular track is him stepping bar-for-bar with a newer cat in Big Sean and so new a cat he may as well be a kitty, BabyTron, of the Detroit ShittyBoyz scam-rap collective, known for his semi-witty punchlines and tight flows. That works a lot better for me when he has an actual groove, especially the constant punchiness of a Detroit trap track but here, we have a beat that I thought was interesting at first and becomes increasingly odd. It makes sense to me for a beat to have no steady percussion line and instead be full of cinematic strings and thwooping, bass-heavy movie trailer sounds - it’s Eminem, after all, I guess he’s catching up to his Christian stan NF - but it just never drops after all the build-up, and that piano line that is also very explicitly Detroit is a tedious loop that never changes but feeds tension into the beat without ever finding build-up, despite obvious lay-ups for that to happen. The verses transition not through smooth sequencing of instruments but through a cloudy void of blurry sound effects, as if the song was made for the music video and nothing else. There’s electric guitars added into the mix because, it’s either Em himself or his main man Luis Resto who are obsessed with adding those to the back of the beat for no reason, there are hi-hats during BabyTron’s verse that just skitter out of existence, and a mix of guitars with cavernous drums and warping synths during the latter two verses from Sean and Em that just drown out the two rappers without ever landing them on a true groove, which only really Eminem can play with in an interesting way. I know it’s Eminem so the beat should not be the focus but this is a bizarre, borderline just experimental beat that sounds kind of terrible most of the time but has so many fascinating bad decisions and moving parts that it’s hard to ignore.

Now for the rappers themselves, as you’d probably expect me to discuss more given again, it’s Eminem, he’s the only person with an interesting concept or flow here. He’s bitter and desperate to prove he’s in top fives - not that he should care but I’m not angry that he does, he’s a lyrical rapper from the 90s, caring about being the best is kind of his job - but unlike Kamikaze, he’s not lashing out at his own fans, he’s lashing out at so-called critics, including Melle Mel, who he very reasonably stamps out for the reason that whilst people prompted him not to respond to the man because he’s a pioneer - a grandmaster, if you will - of the genre, Eminem’s cemented his place just as much as he has and it would be a fair competition between legends. A weird beat always brings out awkward deliveries in Em, and he’s surprisingly not going for the easier, fast-paced deadpan talking both BabyTron and to a lesser extent, Sean, go for here, instead being all over the beat like he has eight legs spread out saying a different bar. It’s a cool approach that means he’s not always perfectly on beat but the beat’s weird, so let him be too, I actually find it much more compelling than BabyTron, who sounds like a bored child lost in the supermarket, even if there are some quotable lines and Detroit references that add a little more spice. Big Sean is selling his anger and hunger much more convincingly, even when faced against this Lovecraftian monster of a beat, and whilst I’m not necessarily invested in Sean because… of course not, his bars hit, his rhyme schemes are solid and he sounds on point the whole time, it’s a focused verse that really balances out Em’s verse. BabyTron is completely lost to that dynamic so the fact that he originated the main conceit of the song, the utterly stupid idea that since Tobey Maguire became Spider-Man after being bitten by a spider, BabyTron and Big Sean must have been bitten by a goats because they’re GOATs, and Eminem must have been the goat / GOAT that bit them. Yeah, there’s a reason why the song’s namesake didn’t deserve being brought up until the last minute. I know this was a hefty review for a pretty middling debut that won’t last, but this really feels like a can of worms hidden on the back-half of an album completely irrelevant to it, even though it was already released as a single and music video. Fascinating little track, honestly. I’m kind of glad we end the week with that nonsense.

Conclusion

Well, it was a big debut week for country or country-adjacent tracks, and this rings well in our conclusion, as Best of the Week obviously goes to Zach Bryan for “28” whilst we have surprisingly close Honourable Mentions for the two duets: “you look like you love me” by Ella Langley and Riley Green and “Tough” with Quavo and Lana Del Rey. As for the worst, that also represents country as Morgan Wallen takes it handedly for the regretful “Lies Lies Lies”, whilst I suppose “Bring Me Joy” by Rudimental and Karen Harding ends up as the Dishonourable Mention. Whatever happens next week, apart from Eminem, I hope there’s not too much to write about because it’ll be a busy Friday for me. Knowing the charts, I won’t get that peace and Peppa fucking Pig will debut a couple songs. Regardless, thank you for reading, long live Cola Boyy, and I’ll see you next week.

[rogueish]

Classic old-school jungle, by which I mean it sounds like "Mars Attack" by Girls Aloud.

Bit of a stealth late-90s/early-00s girl group revival: "Oops" by Oliver Heldens and Karen Harding is a straight-up Saturdays track. Griff and Sigrid's "Head on Fire" is very late-period All Saints, as is Raye's "Environmental Anxiety".

[musicftmisfits]

Karen Harding - Stranger On A Pedestal

A soft and hazy alternative pop release was brought to us by Melbourne-based artist Karen Harding. She's just shared single 'Stranger On A Pedestal' with the world.

A soft and hazy alternative pop release was brought to us by Melbourne-based artist Karen Harding. She’s just shared single ‘Stranger On A Pedestal’ with the world. The track is a powerfully expressive piece of poetry put to music, soft guitar sounds guide the singer songwriter and her sharp voice through a melodic soundscape and a soaring emotive story. The acoustic number sees Harding…

[thoughtswordsaction]

Karen Harding - Imaginary Boyfriend

“Imaginary Boyfriend” is the latest song by Karen Harding, a Melbourne-based singer-songwriter. It’s her first single in 2024 that serves as a perfect follow-up to “Insane For A Moment” and “Devil In The Mirror,” two exceptional compositions released last year. Lyrically, “Imaginary Boyfriend” talks about the heart’s longing for ideal love and its persistent dream to maintain personal ideals and…

[thebookishcrypt]

SEPTEMBER MUSIC WRAP-UP

ARTIST: Karen Harding SONG: Wrong Places ARTIST: Sofia Reyes SONG: Hoy Me Porto Mal ARTIST: Bahari ft. BIA SONG: Savage ARTIST: Mothica SONG: Glow in the Dark ARTIST: Faouzia SONG: IL0V3YOU ARTIST: Kate Peytavin SONG: ever fallen? ARTIST: Karol G/ Maluma/Dennis/Mc Kevin o Chris SONG: Ta Ok ARTIST: TXT & Anitta SONG: Back for More (these are songs that are not new to me but I’ve…

[pierreism]

'Wide Awake (Visualizer)' by Karen Harding

Stream/download Karen Harding's debut album "Take Me Somewhere": https://lnk.to/KHTMS

[findasongblog]

Find A Song that delves deep into the inner workings of the mind during moments of insecurity

Karen Harding - Insane For A Moment

“’Insane For A Moment’ is a track that I had a lot of fun creating. The song reveals a new side to my songwriting and brings a more upbeat and experimental pop vibe in comparison to my previous releases. I truly wanted to capture the heart of the inner workings of a moment of insecurity and my hope is that this song can connect to the personal experiences of listeners.”

Added to FAS Spotify playlist indie pop.

via Musosoup

[buckera]

🌈 HAPPY PRIDE FROM THE QUEERS OF 9-1-1 🌈

[olympain]

I'm entitled to that. I'm giving you my days. You and me, time and space.

[perfectlytremendousdaze]

Song of the Day - Wings (I Won't Let You Down) - Armand Van Helden & Karen Harding

Here’s another choice selection from my Winter Jams 2023 playlist on Spotify. Today’s jam is a reworking of Van Heldin’s 2016 dance anthem with some added, and hot, vocals from powerhouse songstress Karen Harding. Check out Wings (I Won’t Let You Down)…

[1000-year-old-virgin]

Majestic ft. Karen Harding - Sweat

[undercovercannibal]

KAREN FUKUHARA as KIMIKO MIYASHIRO in The Boys “Season Four Finale”

[616witch]

Comic books... You know, illustrated magazines made up of narrative artwork accompanied by dialogue and descriptive prose.

[captaincleverusernamehere]

(Ignore the fact that I use tiktok while reading this post) Anyway, LOVE theater kid tiktok. Right now my fyp is literally:

“The Mean Girls movie was so good, maybe even better than the stage show. The instrumentals and vocals were insane, the cinematography was on point and the comedy and casting were perfect. And Reneé Rapp was so hot”

“The Mean Girls movie was an atrocious monstrosity missing all the good songs and good singers of the stage show, and the instrumental, timing, and key changes were Not It. And Reneé Rapp was so hot”