搬運(yùn)自：網(wǎng)易云音樂專欄【Music Online Zine Courier】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：豆目豆科

Who is Bunny? In Caroline Polachek’s vision, she is a figure of undeniable intrigue. Sexy and beguiling, untraceable even by satellite, she goes where she wants and is beholden to no one. You wish you were Bunny; we all do.

“兔子”是誰(shuí)？在Caroline Polachek眼中，她毫無(wú)疑問(wèn)是個(gè)大陰謀。性感迷人，即使是衛(wèi)星也無(wú)法追蹤到她，想去哪里就去哪里，不受任何人的約束。相信你希望你就是那只“兔子”；我們都希望如此。

Casting off the gossamer avant-pop of 2019’s?Pang,?Polachek and producer Danny L Harle opt for a sound that is both commercial and weird: a deep, juicy bassline befitting of the Top 40, a “yoo hoo” whistle, a sample taken from Harle’s giggling baby, even marimba plinks that conjure an island vacation with Kygo. It’s a characteristic display of PC Music alum Harle’s?impulse?to simultaneously send-up and pay homage to popular forms, with results too deliciously crisp to read as a joke.

一改19年《Pang》中華麗的前衛(wèi)流行樂，Polachek同制作人Danny L Harle選擇走上一條既商業(yè)又怪異的聲音道路：完全有實(shí)力沖入排行榜前40的厚實(shí)玩味的bassline、俏皮的“yoo hoo”口哨、采樣自Harle本人的嬰兒嗤笑的切片，甚至還有馬林巴琴，會(huì)讓人猶如正同Kygo在島嶼上度假。與PC Music師出同門的Harle將他的個(gè)人特色展示出來(lái)，向流行致敬的同時(shí)也隱含對(duì)其的不屑，最終成果依舊趣味橫生、清脆利落，不能小覷。

Meanwhile, as if recreating the slipperiness of Bunny, Polachek darts through various images (blazing fireworks, a wet palette, a cut check), never resting long enough for you to grasp what’s next. She enters a new dimension in the chorus, switching from narrator to first-person, trading a Drake-like rhythmic delivery for her usual lithe, crystalline singing. She may be channeling the want to be immaterial, the ability to evaporate like a wisp of smoke, but when she sings?“I’m so nonphysical,”?it comes with embodied longing, as if she’s aching for touch. The thrill of the song is wrapped up in how it skirts any pressure to lay out its intentions, how it moves at its own whims. Bunny keeps you guessing. –Cat Zhang

除此之外，如同再現(xiàn)兔子的機(jī)敏矯捷一般，Polachek的歌聲飛梭在各種圖景之中（絢麗的焰火、濕漉漉的著色版、撕碎的支票），讓人應(yīng)接不暇。來(lái)到副歌部分，她遁入一個(gè)全新的維度，敘述者轉(zhuǎn)為第一人稱，用類似Drake的韻律感來(lái)替代她一貫輕盈、精致的歌聲。她可能是在引向?qū)裥枨蟮目释褚豢|炊煙一般蒸騰而上的能力，但當(dāng)她唱到?“I'm so nonphysical”時(shí)，它又?jǐn)y有具象的渴望，她在渴望觸摸。這首歌所帶來(lái)的爽感被裹挾在它如何避開任何需要細(xì)細(xì)闡明自身意圖的壓力上，在它如何隨心所欲地行進(jìn)下去上?！巴米印焙苁亲屓俗矫煌浮?/p>