It’s Thursday and you’re in a glass elevator somewhere on the 40th floor with Duran Duran bleeding through the speakers overhead and the guy from the meeting two doors down catchinh your eye in the reflection. Your mind goes somewhere it absolutely should not go at 2pm on a workday involving the stop button and his tie wrapped around your wrist while he grinds you against the mirrored wall in front of the whole Manhattan skyline. He smiles before the doors open on his floor, the kind of smile that tells you he was thinking the same goddamn thing. That’s the frequency Bunny X is broadcasting on with ‘One Touch’ and it’s fucking dangerous. The song makes corporate ambition feel like foreplay – the kind of thing that soundtracked every glossy 80s fantasy you absorbed before you were old enough to know what desire actually felt like. It’s the song playing in your head when you walk past his office for the third time after that and tell yourself it’s a coincidence. It’s not a coincidence. You’re not fooling anyone, least of all yourself, and Bunny X gets that shit completely. ‘One Touch’ pulls you all the way into 1987 and suddenly 2026 is somebody else’s problem.
The production on this is doing things that should require a prescription. SelloRekt / LA Dreams handled the boards alongside Bunny X and Gosteffects, with Grammy winner Tony Lake on sound engineering, and the result is this insanely lush blend of glossy 80s R&B, New Jack Swing grooves and retrowave shimmer, and it is genuinely addictive. Every layer is doing work. The saxophone bleeds through like it drifted in from a Wall Street trading floor fantasy, and original member Mary Hanley moves through it all with this effortless, knowing energy that makes the whole thing feel like a secret between her and whoever she’s got her eye on. This is what happens when a production team understands that desire sounds better with a little reverb on it.
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Bunny X wastes zero time getting to the point. “It was only / One look one touch / But I want more and more / One glance true romance / Never felt like this before” and we are already cooked. That escalation from one look to full-blown obsession in about four seconds flat is so fucking accurate it’s almost embarrassing. This is the part nobody wants to admit out loud, that sometimes one glance across a room rewires your entire nervous system and suddenly you’re a completely different person with a completely different agenda for the rest of the day. They didn’t build up to it or talk themselves into it. It happened and now they’re in it and there is no logical way out.
She grounds it in the reality of the grind. “Lost in the morning headlights / This week’s been so hectic hey / Workin’ all day and night / It just never seems to end” and suddenly this isn’t just a crush, it’s a crush that ambushes you in the middle of a week that has been absolutely destroying you, which is the most dangerous kind. You’re already running on black coffee and a Virginia Slim you smoked in the stairwell at 8am and then the universe decides that’s the perfect moment to drop him in your eyeline. Your brain has zero defenses left. You are completely, hopelessly exposed.
This is where it stops being a crush and starts being something she can’t talk herself out of. “But then I looked over in your direction / You could tell I needed love and affection baby / Could it be that the stars have aligned / Do I have to say it / You know what I’m telling you.” She is wide open and he saw it and is not even a little bit ashamed about that. The stars aligning line sounds romantic until you realize the singer is saying the timing was always going to be this, that no amount of being busy or professional or sensible was going to stop this from happening. The universe had plans and her calendar was irrelevant.
It goes full investigative – “I saw you by the coffee machine / And I had to know your name so I asked Cindy / She said oh they’re all the same / In their beige suits and Wall Street dreams / But I knew you were different / I knew you were the one for me.” Cindy tried to warn her. Cindy laid out the whole pattern, the suits, the ambition, the predictability of every man in that building with his Gordon Gekko haircut and his absolute certainty that he owns the world. She heard every word of it and filed it directly in the trash because she’d already decided before her coworker finished the sentence, and honestly that’s not a character flaw, that’s just what it feels like when you actually want someone.
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Bunny X are a New York City duo who took everything we loved about the 80s and made it sound like the future, and honestly they have no business being this good at it. Their sound is retrowave and italo disco filtered through the DNA of Depeche Mode, the Pet Shop Boys and early Madonna, which means every track they put out sounds like the inside of a neon-lit club you’re not sure actually exists. Their last album, Love Minus 80, was a full concept piece built around sci-fi novels and films from the era, and the fact that they turned their nerd obsessions into something this fucking gorgeous should be criminal. They just wrapped their third studio album, this one with an officewave/80s Wall Street theme dropping summer 2026, and if it sounds anything like what they’ve been hinting at, we’re already clearing space in our rotation.
Producer SelloRekt / LA Dreams grew up in the 80s with a controller in his hand and a VHS tape running in the background, and you can hear every second of it in his music. He makes electronic music that pulls the sounds of that whole era forward into something that feels genuinely new, and the world has been paying attention in a big way: millions of streams, placements in Flower, Red Oaks and Vice Principals, a spot on Netflix’s Stranger Things-affiliated ‘Mike’s Bassment Beats’ playlist, and repeated features on Spotify’s massive RetroWave/Outrun editorial and the New Retro Wave YouTube channel. That’s not a niche underground career, that’s a goddamn cultural footprint, and he built it by staying completely, obsessively true to the sounds that wrecked him as a kid.
So here’s how Thursday ended. I walked past his office a fourth time which was absolutely not a coincidence and he was on the phone but he looked up and pointed at his watch and held up five fingers. I spent those five minutes in the bathroom deciding what version of myself to be and landed on the honest one. We ended up at some dark wood bar on 53rd with the kind of lighting that makes everyone look like they’re in a Michael Mann film. We had drinks. We had more drinks. We did not talk about work. Bunny X wrote the song for the elevator but they also wrote it for everything that came after, the part where you stop overthinking and start making decisions your Monday self is going to have a lot of feelings about. ‘One Touch’ understands that desire doesn’t wait for a convenient moment and it doesn’t apologize for the mess it makes, and neither do we.
