Perfume / LEVEL3 / October 02, 2013
It’s easy to think Yasutaka Nakata has lost his mind: his recent work with Harajuku fashionista Kyary Pamyu Pamyu is filled with the type of nightmare-tropes-made hip that give his particular brand of electropop a boost of the unwanted grotesque. It appears he’s honing his technique on subject matter (ninjas, fashion monsters, bonbons, eyelashes, onomatopoeia) set to the kind of stuff you’d hear at library story time, but remixed by a producer whose gift lies in empathizing with, rather than mocking, teenage girls. One would almost think he wishes he could be one. While the work he does for Kyary is an acquired taste, Perfume is still a standard, one of the few constants in Nakata’s career. Fans of Perfume have grown up alongside the trio, past their sweet donuts phase, through a one room disco, and now, in their most mature work to date, LEVEL3.
Visibly, Nocchi, Kashiyuka, and A~chan have surpassed their peers. They’ve developed a stage persona and personal aesthetic that is instantly recognizable and forever classic. Fans have come to rely on their sense of wonder, excitement, and gratitude alongside their trademark fashion silhouettes and immutable hairstyles. But to forget that all their hard work wouldn’t be possible without Yasutaka Nakata is to gravely mistake the power of great PR over the power of prodigy: the undeniably brilliant songs that Nakata pumps out at a rate Joyce Carol Oates would be proud of, and rarely hitting stumbling blocks that can’t be turned into stepping stones. These are Nakata’s best trademarks: synths, auto tune, whimsy, pretty females with airy vocals, and making the impossible look easy enough to create between naps.
While dance music has always been Nakata’s primary sound, it’s mostly hovered in capsule’s ouevre, the more experimental work that offers listeners a chance to see what the producer has been playing around with. But the work he’s done everywhere else, namely with Ami Suzuki, MEG, Kyary, and, especially, Perfume, has been solidly rooted in the pop tradition. Verse, chorus, verse, chorus, bridge, etc. and maybe a dance break in the middle has been the modus operandi of Supreme Show, GAME, BEAM, JPN, and Pamyu Pamyu REVOLUTION. LEVEL3 is a mix of purer dance elements: the repetition of vocal lines, free flowing structure, major key changes throughout, musical elements slowly added, stripped down, and added again.
These are the hallmarks of LEVEL3, the type of thing “edge” tried to be back in ’08. “PARTY MAKER” is one perfect example with almost four minutes of crescendo before the brilliant, satisfying drop. “Spending all my time (Album-mix)” a second. These album mixes are, no really, new mixes, as if they were lovingly tweaked to flow smoothly into an album that could easily have been made with no track gaps. “Spring of Life (Album-mix)” starts off with the song’s break down, killing suspense to focus on groove and letting the vocal elements coast, while “Magic of Love (Album-mix)” has a whole new synth line. The album also has quiet moments, like the melancholy of “1mm” and “Furikaeru to Iru yo;” more subtle, ever dazzling. A lot of this was probably the influence of the members, who offered input. “We requested like, “We’d like a track that can match the Dome concert where we can build large sets” or “Can we have a song in which we can make various directions, rather than just dancing?” and so on. All of the new songs on this album are very suited with our requests,” said A~chan in a recent interview. I can see the laser lights already.
While it’s difficult not hearing “Hurly Burly” instead of “Mirai no MUSEUM,” LEVEL3 is as close as ever to yet another Nakata classic. Woe to those who have forgotten Perfume has four members, not three.