The Singles Jukebox

DRAMA~!…

[Video][Website]
[5.71]

Sonya Nicholson: This drama soundtrack song (is it even a single?) doesn’t have the immediate pop impact of Neon Bunny’s actual singles like “Oh My Prince” or “It’s You“, but it’s also lovely (and a grower). Extra point because it’s funny to think about these 80s soundtrack synths once again being used as background music after being appropriated by a transformative vaporwave artist like Neon Bunny. Two points off because the result ends up sounding like a genre exercise put through an Instagram filter, something lots of other musicians who aren’t as good as Neon Bunny could have done equally as well. 
[7]

Anthony Easton: This is about as safe and low-key as a child’s cartoon of the Easter Bunny. Bunnies can be mean — they bite, they have been known to cannibalize their young — and in fiction they are depicted as sly, often tricksters/thieves. I am disappointed for rabbitkind that this is so fluffy.
[3]

Iain Mew: It’s more straightforward than “It’s You” in a way that’s not surprising for soundtrack duties, but Neon Bunny keeps enough of the same gorgeous sighing in the rainy day city sunset aesthetic for it not to matter too much. She also adds a full-on swoon of a chorus that’s its own peak.
[8]

Patrick St. Michel: Sweet, slow-burning synthpop courtesy of one of the best K-pop acts operating just outside of the mainstream (though “Lost In Love” appearing on a drama soundtrack might help). It doesn’t come close to matching the syrupy highs achieved by this year’s still-masterclass “It’s You,” but it’s a solid introduction to what Neon Bunny does so well, which is using an 80s synth-pop base to create music just right for her airy vocals.
[8]

Micha Cavaseno: Normally, Neon Bunny’s songs tend to cruise and glide with a sense of production that really holds an edge, whether it’s the post-Joker sheen applied to “It’s You” or the metallic Mudd Club scratching-funk pulse present on “Plastic Heart”. So it’s really rough to hear how plodding and limp the disco beat on “Lost in Love” is. Here, we see her breathy puffs of voice become a bit too wispy without the ability to ride along on something more combative, and like that, the vividness of Neon Bunny seems to fade back into dreamland.
[3]

Alfred Soto: Cooed melancholy over analog beats — sign me up, as long as it’s cut a minute. 
[6]

John Seroff: Here’s a good example of how a single element can completely drive a song. Take away the bassline and there’s virtually nothing left. Of course, leave the bassline in and you’ve not much to play with in the first place.
[5]