Chloe Moriondo


  1. On her sophomore albumBlood Bunny, singer/songwriter Chloe Moriondoputs her fantastically warpedinner life on full and glorious display. With both intensespecificity and idiosyncratichumor, the 18-year-old artistopens up oneverything from hopelesscrushes to goryrevenge fantasiesto themanyelaborate thoughts that endlessly run through her brain(whether or not to shave her head, theboredom of the suburbs andthelonging toescape, her undying love for Paramore and Girlpool, the freakishly largewingspan of manta rays). In that uncheckedsharingof her obsessionsandfrustrationsand deepest anxieties, Moriondoarrives ata body of work that’sbitingly honestyettenderhearted, a lovinglydeliveredofferingtothe fellow weirdosof the world.Her debut release for Fueled By Ramen/Public Consumption Recording Co., Blood Bunny brings Moriondo’s outpouringto a gorgeouslycomposed collage of bedroom-pop andskate-punkand indie-rock. In shapingthat mercurial sound, Moriondoworked with producers/co-writerslike 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 throesof quarantine. But despite its departure fromthe lo-fiaestheticof2018’s Rabbit Hearted.—a self-produced, entirely D.I.Y.effort centeredonher understated vocal workand graceful ukulele strumming—Blood Bunnyundeniablyheightensthe raw intimacy of hersongwriting.“I wrote more honestly on this album than I ever have before,” says Moriondo, who first started writing songs as a little kidin Michigan. “I think it has to do with becoming morehonest with myself in general, especially since graduating high school, and really figuring out what I actually care about and what I want to express in my music.”As a happyoutcomeof that newfound clarity, Blood Bunny more brightly illuminates the landscape of Moriondo’s ultravivid imagination. To that end, the album’s deceptively breezylead single “I Eat Boys” pays brillianthomage to the queer cult classic Jennifer’s Body, twistingan instance of street harassmentinto a cannibalistic daydream(“I’ll eat you whole/Pull out your teeth and take your soul/Stir some blood into the punch bowl”). “I wrote that song as a way to vent my hatred for the percentage of the male population that is terrible,” Moriondonotes. An equallypotentburstof angst, the album-opening “RlyDontCare”unfolds asa wildly catharticanthem for anyone who’s ever been the recipientofunsolicited commentary or advice. “There’s a lot of people online and in the world in general who feel the need to tell metheir opinions on things that don’t really matter much, like my hair or piercings or tattoos,” says Moriondo. “Most of the time I just want to respond by telling them, ‘I don’t care’—but instead I wrote a song that will hopefully encourage other people to do whatever they want to do.”WhileBlood Bunny has its share of explosive moments,the album alsofindsMoriondodocumenting her emotional experience with a delicatebalance of dreamy sensitivity andpainful self-awareness.Built on a kinetic back-and-forth between stripped-backverse and soaringchorus, “I Want To Be With You” begins in shyself-consciousness(“Swimming in my T-shirts, no matter the weather”), soonarrivingata sweetlypoeticexpression of affection(“You shut my mouth/And you buckle my knees”).On “Bodybag,” Moriondomuses on thestrangephenomenonshe refersto as “that feeling when you’re attracted to someone, but you also kind of hate them,” channeling that turmoilin her charminglyunhingedlyrics(“Wanna kiss you on your cheeks/But Ialso wanna punch your teeth”). And on “Slacker,” Blood Bunnydrifts into a melancholymood, setting her heavy-hearted introspectionto a backdrop of hazytexturesand languidbeats. “‘Slacker’ is about feeling like you just dropped the ball on something that could’ve been sogood, if only you’d done the right thing,”

  2. Moriondosays. “I wrote it when I was going through a weird time and it helped me to feel better about everything, and now it just feels really sweet to sing.” On the album’s closer, Moriondopresentsanother song born from her attempts at self-soothing, the beautifullyslow-building“What If It Doesn’t End Well.”“The only real fear I’ve ever had in life is the fear of losing the people I love,” she says. “That song came from me writing about the anxiety I felt about the world and my relationships and my friendships and my family—I was trying to find some comfort, and it workedoutpretty well.” Fueled by a powerfulvocal performance from Moriondo, the result is a soul-baringepic that closes out Blood Bunnywithan invaluablequestion: “When the world is over and we go under/Would you still be mine?”Like several othersongson the record, “What If It Doesn’t End Well” includesvocal takes Moriondocaptured while sitting in her car in the parking lot of anearby churchshe attended as a child.Growing up in a suburb of Detroit, the lifelong music obsessivegot her startsinging as a little girl and took up guitar and ukulele by the time she was12. “I’ve always been surrounded by music, so it felt like there was never really another option for me as far as what I’d do with my life,” says Moriondo, whose parents raised her on bands like Metallica and the Misfits and Green Day and Queen. At the age of 13, she’dbegunposting covers on YouTube and SoundCloud, first gainingserioustraction with a Rex Orange County song she impulsively recorded after finishing up a choir recital. As her following expanded, Moriondostarted posting her original material, beginning with the gently heartbreaking“Waves” (a song she’d written while on vacation in Puerto Rico with her family and her best friend). Releasedtwo months before she turned 16, Rabbit Hearted.featured “Waves” as its opening track, and soon led to such milestones as touring the U.S. and Europewith Cavetown and landing her deal with Fueled By Ramenin 2019. With her recent accoladesincluding appearingon the “Essential Emerging Artists for 2021” list from NME (who hailed her as a “YouTuber-turned-bedroom pop revolutionary”), Moriondohas also earned acclaim from leading outlets like the New York Times (who praised “I Want To Be With You” as “acutely observed bedroom pop…served witha side of arena-emo triumph”). In the making of Blood Bunny, Moriondoapproached her songwriting with a greater level of self-assurance than she hadever feltin the past. “I’ve gotten better at getting down my song ideas before I can stop myself and say, ‘No, that sounds stupid, never mind,’” she reveals. “Now Ijust go ahead and write it,and save the filter for later.” By way of exampleshe points to “Manta Rays,” a softly hypnotic trackmade even more mesmerizingby its stream-of-consciousnessconfession(“My therapist will tell me that it’s best to let it be/But I wanna light fires, I wanna explode/Iwant to be everything you want to know”).“I was nervous as hell about showing that song to anyone, but I ended up doing it anyway, and I love the way it turned out,” she says. “There are so many things on the album that I never imagined myself being able tomake, and now I just want to keep experimenting and collaborating and see what else I can come up with.”By overcoming that self-doubt and embracing more boldness in her music, Moriondohasultimatelydoubled-down on her intentions as an artist. “I’ve always been a little weird, a little morbid and a littletoo excitable, and I think that definitely translates into my songs,” she says. “Ever since I started writing I’ve felt the need to share as much as myself as I can, so that people who feel the same waymight find some kind of comfort.I hope when people hear this album it’ll be refreshing to them, and help them feel betterabout themselvesand maybe stop caring about what other peoplethink.I hope ithelpsthem know that being weird is actually a good thing.”

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