Matthew Dear



It’s surely hap­pen­stance that a record called Bunny has a track ti­tled “Echo,” but this sounds like a mod­ern ren­di­tion of Echo and the Bun­ny­men at times — or at the very least has that same ’80s sheen to it. This solely comes from Matthew Dear’s vo­cals, which have that pained pa­tience of a by­gone era. Even though he hasn’t re­leased any­thing in six years, there still aren’t many who are do­ing what Dear does. When you’re try­ing to fuse min­i­mal techno with avant-pop vo­cals, there’s in­evitably go­ing to be a clash now and then. Like a lot of Dear’s re­leases, Bunny strad­dles a fine line, and there are oc­ca­sions where it’d al­most be bet­ter if he top­pled to one side or the other. Lis­ten­ing to “Modafinil Blues,” for ex­am­ple, one can’t help but wish Dear would quiet down for a sec, so we can prop­erly hear the track’s funky eu­pho­ria. Con­versely, the vo­cals on “Mov­ing Man” are what make the song. Suf­fice to say, this al­bum has its ups and downs, but it’s mostly mid­dles. While Bunny is fairly con­sis­tent across the board, there isn’t much that sticks out. You won’t find any­thing that nears the mi­cro-house clas­sic “Dog Days,” but if you’re look­ing for a ra­dio-friendly record that isn’t the usual pop­u­lar por­ridge, Dear has you cov­ered. (Ghostly In­ter­na­tional)

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