The best, most perfect piece of music on the planet lately. The only song you need to hear. Until tomorrow.
Bunny is a rider. Think Watership Down gone hyperpop. Caroline Polachek has always been great at unearthing the eeriness in the pop world, even her biggest hit, Beyonce’s “No Angel,” is about learning to love the cracks in personas we build for each other. “Bruises” ?? About trying to perform for someone else and failing. Polachek taps into a whole world of samples, sounds and nuances that most producers are unconcerned with, or simply don’t notice. Listen to the first twenty seconds of “Bunny Is A Rider” to hear how many different elements come up in such a short time: bass line (Danny Harle), white noise, birdsong, snaps, whistle, vocal sample (Danny Harle’s daughter), backbeat, barely-there brass bleep (15 seconds) and only then, finally, her voice and lyrics.
Co-produced with Danny L. Harle, who worked on most of her gorgeous and weird debut album, 2019’s Pang, “Bunny” is cinematic, surreal, an instant classic. Bunny Lebowski’s foot on the gas pedal, toe intact; Thelma & Louise gunning it over the edge, Uma monologuing behind the wheel with the wind in her hair. So much of modern electronic music, particularly the stuff produced by the PC Music crew, comes off so masculine, even if it’s emotional. Caroline’s music — as Chairlift, Ramona Lisa, CEP – none it could never be mistaken for anything but pure feminine energy. When the world isn’t built for you, going missing is part of establishing a presence. On the lam is a state of mind more than anything.