Over the past year or so, it seems that of Yasutaka Nakata’s two big mainstream producer/songwriter gigs, Perfume appear to have got the better deal on the singles, while Kyary Pamyu Pamyu has tended to do better for herself on album tracks. Part of that might be down to him having spent more time with Perfume so he knows what kind of thing works with them, partly it might be something to do with them just being the bigger of the two artists from a commercial point of view, at least for now. Mostly though, I think it’s got something to do with the way that in contrast to Perfume’s modern and sophisticated image, Kyary’s appeal is based on her offbeat kookiness, and so her music works best when it’s a bit off the wall, whereas singles, especially ones designed for big ad campaigns, are naturally a bit wary of anything too odd.
Either her commercial backers are starting to feel more comfortable with the viability of Kyary’s weird side or Nakata’s getting better at working that aspect of her into a more mainstream context though, because since last Autumn’s Fashion Monster, things have been getting a bit more interesting on the singles front and Ninja Re Bang Bang might be her best single since her debut, Ponponpon.
Unlike some of the more intense moments of Plus-tech Squeeze Box-influenced sugar-rush mayhem on last year’s Pamyu Pamyu Revolution album, Ninja Re Bang Bang is a fairly straightforward piece of bubblegum pop with a formula diverging little from the one that Nakata seems to have established for the standard Kyary single — the bouncy rhythm with a bit of an off-beat and the cheap, early-2000s Mini-Moni synths — but while there’s superficially and structurally not that much different between this and some of her more mediocre singles like Candy Candy, Ninja Re Bang Bang has a bit more of a kick.Perfume: Voice
There’s a formula that Nakata seems to have hit upon with Perfume a while back, which involves taking the slick, modern electropop elements of their sound, feeding 70s/80s kayoukyoku and new wave melodies through it, and embellishing with toy technopop bleeps and bloops, with the end result of something both aggressively modern, recognisably classic, and retro-futurist all at the same time. It’s a sound early capsule flirted with too, but it’s most obvious in songs like Laser Beam, with its YMO-influenced Asiatica, or in the way the chorus of Voice is only a couple of notes shy of avant-pop weirdos Hikashu’s Pike.Hikashu: Pike
This combination of classic, modern and retro-futurist not only enriches the sound, but also hits buttons in audiences that are plugged directly into positive sensors in their brains, feeding the sensations of innocence, optimism and a burgeoning confidence in Japan’s own sophistication and global emergence that the late 70s and early 80s evoke. It’s a feeling that goes way beyond mere national nostalgia too: it’s a sound that hooks in neatly to a lot of the positive notions of Japanese pop culture that exist abroad, sidestepping the uncomfortable and infantile cryptosexual fantasies of otaku culture and painting an image of Japan as the colourful, ultra-modern Oriental utopia it still in many ways is (and which Korea is rapidly in the business of usurping).
So to come back to Ninja Re Bang Bang, it kicks off with a little 8-bit synth flourish and then dives straight into one of those YMO-ish choruses from the starting gun, it pulls on all the retro Asian pop clichés it can in the instrumental breaks and ties it all down to the established Kyary rhythmical formula. There’s something like a verse in there somewhere that does fuck all melodically, but the song dispenses with it as quickly as it can in order to get back to the crucial business of just repeating that insanely catchy chorus over and over again, and the result is an utterly straightforward and quite lovely piece of bubblegum pop.