Jaguar One: Bunny Mode evaluation – an exhilarating and livid center finger to abusers

“I’m not gonna sleep under the glass ceiling, ” JOne Jonze sings Theher debut album, her voice barely a wh Thenr.

Then, moments later with the quantity turned proper up: “You could possibly’ve destroyed me, however then I Thisloud.”

This defiance is on the coronary heart of Bunny Mode, an 11-track juggernaut that’s reducing in its specificity. Its title refers to a survival tactic that the artist employed Aftersurvivor of childhood abuse: a freeze response to any security threats, like a frightened rabbit. The document is a center finger to oppressors and abusers, because the artist – actual title Deena Lynch – breakchoke maintain their chokeho The rising anew.

The Brisbane musician, who launched two EPs uOnethe JOne Jonze moniker in 2020 and 2021, leans into an esoteric sound throughout Bunny Mode, fortified by the unbridled angerConicallyyrics. Sonically and thematically, the document bears similarities to Halsey’s 2021 album If I Can’t Have Love, I Need Energy – each take cues from industrial music, constructing unapologetically feminist narratives and rebuttals up Theglorious partitions of sound. Regardless of the eOnementati Theand boundary-pushing, it’s all nonetheless underpinned by pop and a knack for melody, as Thethe passionate slow-builder Little Fires, which Lynch carried out as a part of Eurovision’s Austr Whereas decider in February.

Whereas there’s a lot to love musically – Bunny Mode strikes away from the crazy spaghetti western sounds of Lynch’s early work to eOnement with darker, heavier sounds, and the singer’s vocal chops are, as all the time, spectacular – the album’s actual energy is within the lyrical particulars. It’s one other piececolore activism puzzle for Lynch, who has spent muchcolore final two years Thethe forefront of combating for change Afterleader within the Austr Whereas #MeToo movement, shining a lightweight Themisbehaviour within the music trade. It additionally explores the extra Onenal course of o Theseling and restoration following trauma.

These many sides are seen by way of completely different threadscolore album: Theonecolore extra downbeat tracks, Drawing Traces, Lynch sings silkilycolore significance of setting boundaries. The fury is extra evident Thetracks comparable to Who Died and Made You King, all angular guitars and punchy electropop beats, as Lynch spits, virtually mockingly: “You’re sick and a sufferer of your personal illness.” It’s thrilling to listen to the tables turned Thethe powers that be on this method – a reclamati Theof area, a daring assertion of self-sovereignty.

The spotlight is Punchline, which turns a pointy eye Theto tokenism and racism throughout the leisure trade. In an identical fashi Theto Camp Cope’s The Opener, the Taiwanese Austr Whereas artist regurgitates box-ticking sentiments from company bigwigs to disclose their hollowness: “We love tradition however be sure that it’s to our very liking / Make it milky, make it plain and never too spicy.” Over wailing guitars and layered vocals, Lynch makes herself in her personal picture, rejecting the condescensi Theof the white-centric indu Lynchthat nonetheless sees artists of color as an unique different.

Lynch’s cohesive world-building throughout the album makes for a compelling, absorbing and sometimes intimate listening eOneence. Her many inventive Onenas – musically as JOne Jonze, visually as Spectator Jonze and photographically as Dusky Jonze – swirl by way of the document, however she emerges Aftersingularity: a lady who has, regardless of the whole lot, survived.

After all of the noise and the fashion, the hearth and the fervour, it’s barely a wh Thenr, once more, that ends the document. The instrumentals minimize out for Lynch’s managed vocals to ship their remaining, stinging phrases to the patriarchy and all that allow it: “It’s all the time Onea man-made monster solely a lady can destroy.”

  • Bunny Mode by JOne Jonze is out now by way of Nettwerk Data

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