Thomas Headon Addison Grace
On her sophomore album Blood Bunny, singer/songwriter Chloe Moriondo puts her fantastically warped inner life on full and glorious display. With both intense specificity and idiosyncratic humor, the 18-year-old artist opens up on everything from hopeless crushes to gory revenge fantasies to the many elaborate thoughts that endlessly run through her brain (whether or not to shave her head, the boredom of the suburbs and the longing to escape, her undying love for Paramore and Girlpool, the freakishly large wingspan of manta rays). In that unchecked sharing of her obsessions and frustrations and deepest anxieties, Moriondo arrives at a body of work that’s bitingly honest yet tenderhearted, a lovingly delivered offering to the fellow weirdos of the world.
Her debut release for Fueled By Ramen/Public Consumption Recording Co., Blood Bunny brings Moriondo’s outpouring to a gorgeously composed collage of bedroom-pop and skate-punk and indie-rock. In shaping that mercurial sound, Moriondo worked with producers/co-writers like David Pramik (Oliver Tree, Selena Gomez), Keith Varon (Machine Gun Kelly, Zara Larsson), and Jake Aron (Snail Mail, Yumi Zouma), mostly collaborating remotely in the throes of quarantine. But despite its departure from the lo-fi aesthetic of 2018’s Rabbit Hearted.—a self-produced, entirely D.I.Y. effort centered on her understated vocal work and graceful ukulele strumming—Blood Bunny undeniably heightens the raw intimacy of her songwriting.