Bunny X - Love Minus 80
Review by Karl Magi
Overall Album Impressions
Bunny X’s Love Minus 80 takes listeners on a lushly interwoven synth journey through a sci-fi inspired series of tales in song form. It combines their emotive vocals and well written songs with guest performances from Don Delpiero, Thought Beings and Sellorekt/LA Dreams to create expressive, engaging music that draws me in and hits me with intense feeling and auditory joy.
All of the guest artists on Love Minus 80 bring their unique talents to bear in the album. Each of them helps add to the depth of feeling and expression in the music. There’s a level of aural beauty radiating from each of the songs on which they perform that adds to the already high level at which Bunny X operate already.
I also want to shout out the high production values on Love Minus 80. Gosteffects an Abigail Gordon have created music that fairly oozes ‘80s vibes while remaining pin sharp and crystal clear. The production quality allows the synth tapestry a chance to shine and the vocals to make their full impact as the album unfolds. The synth palette on this album is detailed and lushly textured. In combination with strong bass and drums, the end result is layered and engaging.
Taking inspiration from science fiction adds a layer of depth and interest to the songwriting on the album. I enjoy the way in which Bunny X shows respect for the original stories’ creators while remaining fresh and original in their writing. They pay homage to the source material without leaning too heavily on it. The end result is songs that capture something essential from their sources of inspiration, adding to their depth.
My Favourite Tracks Analyzed
“Love Is An Empire” comes into being as sharp-edged synth flashes through oscillating bass carry a melody with a longing edge to its glow. Abigail Gordon’s voice exudes trembling gentleness, expressing aching affection as retro drums provide giant-sized support.
Cloudy, diffused light shines through the vocals, wonderfully full of tender caring. Widely gleaming synth intertwines in a melody that feels like soft morning mist as the low end presses on. Abigail Gordon’s vocals are lightly touching and emotive and a light touch as radiant synth shines.
Cascading synth echoes out, carrying the enfolding melody like calming hands on skin. Burnished synth sparkles while the vocals is heartfelt and settling while hard-hitting drums and solid bass add form. Luminosity irradiates every musical element as the song ends.
“I sense you calling out softly, out there in the darkness” is how our narrator opens this song as she adds that she knows the other person is running back to her. She says “it’s all coming down again” in reference to the familiar feeling one gets as if a long lost friend is returning home once more.
Now the teller of the tale asks the song’s subject to “take the Milky Way down, long past these broken sidewalks.” She says they should run into the night, adding that she’s got no desire to go back. The storyteller points out that once she’s found the other person “we’ll build an empire” and make it work together. She states that “love is an empire.”
For a while, everything was unclear to her “like a forgotten dream.” Now she can see the other person returning to her vision. She speaks of “racing onto the interstate” as they pursue the feeling they seek to see where it all ends up.
Abruptly flitting, rough-edged synth vibrates above dense bass to open “The Forever War.” Abigail Gordon’s warm voice echoes out, carrying a melody mingling dynamism and affection while the bursting snare drum and thudding kick drum push on. Bass provides lush support while clear synth flashes out in choppy lines, containing strength and nobility.
Abigail Gordon speaks now, delivering a message of support and protection, as the rising tide synth tide suffuses the song with sunlight. Chiming notes flicker while a rounded, broadly echoing synth carries a wistful, peaceful melody. The expressive vocals effectively capture the meaning in the lyrics. Punchy drums support the intense lead synth as it powerfully glimmers and bass wells up far underneath it. The song ends on a tumbling synth pulse and strong drums.
The storyteller reassures the song subject by saying that “you can let them come to me, I’ll control your fear.” She says that when the war approaches, the other person can count on her this time. She adds that she’ll protect the other person “through the centuries” as she swore to do. Now our storyteller asks the song’s subject to “hold me in your memories” and says they’ll keep them good.
Our narrator points out that they’ve travelled “so many lifetimes” that the idea of home is meaningless. However “our sun hasn’t set yet - it’s not too late” so she asks the other person to meet her “at the 5th planet out from Mizar.” She goes on to say that it doesn’t matter how long it takes. Now she says that in the other person’s eyes “I’m forever frozen in the past” but if they use “time dilation” there is a chance of finding a way to make it all last.
“Daydreaming” starts as muffled, twisting synths wells in strength as colossal drums form a surging pulse alongside huge bass. Abigail Gordon’s voice is pleasingly rich with feeling as it carries a melody that makes me feel settled and laidback. Bass and drums with intense weight propel the song in broad walls.
Nasal-sounding, bending sound spins in knotted motion as the unrelenting drums and bass drive Abigail Gordon’s voice possesses resonant depth, the melody carrying both pain and dreamy hope while thunderous bass throbs and chiming notes glow.
The vocals tremble with need and affection to contrast with the immense muscled strength below them. Medium-high, mistily gliding synth calls out with mournful light as the ethereal vocals drift and the song fades quietly away.
Our narrator knows that the other person’s “mind is swimming” and they are pensive because “you’re so tired of the way things seem to go.” She says that she’s got something to say and she hopes the other person will listen. She wants them to know that “your love is like a dream.” She adds, “when I think of you and me It’s like I’m daydreaming.”
The storyteller says that she can see the other person “running all night into the morning” feeling that they can only get through everything alone. She says that she as been calling out to the other person “wishing you would let me in.” There is a “hole in y heart” when they leave again. She concludes “When we’re all alone, I can’t hide this feeling.”
Bluff, blunt bass punches in as a nervous sonic rush flits past and giant drums burst to begin “The Darkest Place.” Mary Hanley’s voice has a lost quality, full of seeking as the vocal melody skilfully mingles ache and anticipation. Glittering, elevated synth flashes with radiance above underlying power.
Shiny synth permeates the song in wide band brightness as Mary Hanley’s voice exudes heart-touching emotion. Fragile chimes drift in a lonely line as ringing, string-like notes swim out in a diffused line above the massive drumbeat and pulsing bass.
The vocals rise out encapsulating aspiration and protective love. The song flows into a segment in which airy, metallic notes shimmer delicately above gruff synth in contrast to the peaceful vocals. Flaring synth notes leap out above low end strength pushing onward from below as the chorus carries protection within it.
This story’s teller speaks of struggling to keep the other person close “but looks like we failed.” She creates a desolate image of “floating blind in the darkness and just falling without end.” She points out that it’s been ten years since the song’s subject has been home or seen a friend but she won’t give up.
Our narrator says that when she gets the other person back she’s not going to let their opponents take that person away again. She adds, “You’ll always run free my friend!” Now the narrator tells the other person to shut their eyes, count down and they’ll see her face. She realizes they have been waiting for her in darkness but “I swear I won’t let them take you away again.”
She acknowledges that the song’s subject fought hard so she needs to bring them home. They’ve been “lost in a world, a galaxy that’s still unknown.” She says she will pay any price. She promises “I won’t let you go, won’t fall for the lie.” Finally she swears that “this time we’re getting close.”
“Love Minus 80” commences as hollow synth shivers in descending lines that echo out into open space as gruff bass and widely throbbing drums add motion. Mary Hanley’s voice exudes power carrying a darkly shaded melody wonderfully tinged with passion.
Rising synth flows out in a sweeping, luminescent tide as angular, fierce bass cuts in as piercing fire flashes from a raised synth. Orion’s deep voice carries melancholy within it as slamming drums drive on and lacerating synth pushes past.
The music glides into a smoother segment before the vocalists combine their voices above jagged sound below them. Intensely flickering synth leaps out in brief motion and silence falls.
“You said we’d be fine and I believed you” is how the narrator opens this song. She asks the other person to make up his mind and help her to get through. She adds that she never thought it would be easy and points out that they can’t forget that “it’s a timeless experiment, never-ending romance.”
Our storyteller says that every time the two of them are apart “seconds go on for days.” She asks him to give her one final chance and she promises to bring him back. She goes on to say that she’d “bend time just to have you near, here in my arms.” The storyteller promises to free him even if it takes 100 years to see him again.
The second narrator says that is has been so long since he’s seen the song’s other character. He says that when she was “laying there in the ice” she was so confused. He speaks of “living life deep in shadow” as he tries to pay off his debt because “it’s a timeless experiment, never-ending romance."
Starry synth ripples out above slightly gritty lower notes with a reverent feeling as massively powerful drums slowly throb to start “Good Love, Gone Bad.” Abigail Gordon’s voice is fragile as it carries a mournful melody above the widely sweeping bass and drums with cosmic power.
Refulgent synth cuts in while the drums and bass thunder below and Abigail Gordon's vocals touchingly exude loss and reminiscence of better times. Sharply shining synth leaps in lacerating lines above the drums’ deep strength. The vocals touch softly above smoothly encircling synth and muffled drums as a steady brushing pulse flows.
Coruscating synth extends in broadly towering notes while drums and bass surge on. Abigail Gordon’s pained, delicate vocals glide above vibrating synth and a kick drum heartbeat throbs continually. Drums collide and the song ends on gigantic synth flashing above the bass throb and below drifting vocals that slip into quiet.
Our narrator says that early on “when my heart was on fire, it was a sweet escape.” As time passed, the other person grew cold and now she “can’t hang on much longer.” She adds that it is “good love, gone bad.”
The teller of this tale says that she still thinks of the other person “on warm nights like this” because they were such good friends. However the song’s subject “turned the sky so black” without more than a word. Now she can’t go on any further but she “spent all night dreaming of you.”
She points out that she thought she knew the other person and concludes “but after I’ve won this war, I’ll still be your fool.”
“Chiba City Blues” begins as bass like a pillowy cloud supports glistening, string-like synth carrying a tranquil melody. Arpeggios spin through as smooth drums and bass add shape. Gleaming synth echoes out below Abigail Gordon’s calming vocals sliding through, carrying a melody that puts me at ease above scudding bass and tapping drums.
String-like synth adds glimmering illumination above the easily moving drumbeat over bass oscillation. Abigail Gordon’s voice is caressing as effulgent synth radiates and the bass quickly oscillates. Now the guitar twists out in a twirling dance, reaching high with aspiration as the bending notes fade out into silence.
The storyteller says that she knows the other person will come around “when the hustle’s got you down.” This situation is the Chiba City blues. She points out that the other person has “learned so well from your mistakes.” Now Night City is calling them and they’ll “get jacked into the ice.” Our narrator concludes by saying “let’s see If you’ve got what it takes.”
Conclusion
Love Minus 80 is a joyful journey for me. It combines the wonderfully layered synth sounds with excellent vocal performances, grabbing songwriting and guest artists who lend extra depth and breadth to the music. The homage it makes to all of the talented sci-fi creators is an added bonus on an already first-rate album.
