Perfume albums have for a while now been basically collections of singles strung together with a few filler tracks and B-sides without much sense of cohesion, and it’s easy to see with Level3 how this album’s length, track listing and timing were determined by the same set of commercial demands. Where Level3 stands out is in how despite these constraints, producer Yasutaka Nakata works the material together into a form that actually feels like a proper album. The last couple of albums have seen the increasing use of album mixes of older tracks, although on Level3’s predecessor JPN the mixes were largely unnecessary and on the earlier Triangle they were interesting more as discrete items than as part of the album’s larger context. Here, the three reworked tracks are cornerstones that dictate the pace and rhythm of the album, in particular the new versions of Spring of Life and Magic of Love that kick off a run of tracks that recalls the relentless dance party of Capsule’s World of Fantasy, climaxing in the monstrous monument to hedonism that is Party Maker, just one of many “how the hell did they get away with that?” moments that the album offers.Perfume: 1mm
There are missteps like the way the cutesy kids’ song Mirai no Museum kills the flow of the aforementioned run of party tracks, and Point is still a musical atrocity no matter what anyone says, although pairing it up with Furikaeru to Iru yo was a smart move that limits its damage to the album as a whole. These bum notes are far overwhelmed by the quality of the whole though. Like all the best albums, Level3 has two sides irrespective of its actual physical format (at 65 minutes it wouldn’t fit on a single piece of vinyl anyway) with the more subdued second side emphasising the kind of sophisticated pop with retro-futurist faux-Asiatic elements that have increasingly coloured much of Nakata’s pop songwriting and strongly recall the work of Ryuichi Sakamoto, particularly in album closer Dream Land. It’s too long but we all know how to use the programme and skip functions if we need to and in any case, that shouldn’t detract from this being the best J-Pop album by an easy margin in a year that, in the also Nakata-produced Kyary Pamyu Pamyu album and strong albums by Momoiro Clover Z and Sakanaction, gave us a surprisingly strong field of mainstream records.