#if you vote purely based on title alone that's also more than fine <3

[sneek-m]

Retro Future: A Year in Perfume

Rather than write a blurb about Future Pop, I decided to write about Perfume’s entire 2018 because I can never stick to something short when it comes to my favorite pop group. This post is also available on Medium.

Perfume observed quite a few anniversaries between its fourth and fifth albums, LEVEL 3 and Cosmic Explorer, respectively, so I assumed the group would do the same this year and commemorate a decade since the release of its debut full-length, GAME. But not a peep came from Kashiyuka, Nocchi or A-chan about the album when the release date came around in 2018. The three seemed to be interested instead more in what lies ahead, revealing the title of the new album as Future Pop.

The promotions for music leading up to what would become Cosmic Explorer really worked the anniversary angle. The year before the album, the trio premiered its world-tour documentary We Are Perfume in conjunction with Perfume’s 15th year together as a group. Kashiyuka, Nocchi and A-chan talked up the retrospective qualities behind the movie’s tie-up single “Star Train” during TV interviews, and they made sure to point out how the lyrics speaks as though Yasutaka Nakata is congratulating them after working as their producer for more than a decade.

The Future Pop period, however, had Perfume explore its next potential directions. Last summer’s single “If You Wanna” attempted to introduce future bass not only to the group’s own music but also the Japanese mainstream. This spring’s “Mugen Mirai” refined those experiments, and the members continued to act as a spokesperson to explain the subgenre to the masses. But while Perfume tried its best to stay ahead of the curve, the group also spent much of 2018 revisiting its past successes as inspiration for its current work.

Perfume’s 2018 started with a live tour for its fan club, P.T.A., which coincidentally turned 10 this year. The group has been more than generous when it comes to fan service: for its 15-year anniversary tour, the three incorporated a dice-rolling system to decide its set list with possible choices full of deep cuts. For this year’s fan-club show, the trio built its set based on fan votes. And which track won the number-one spot on that 10-song set? “The Best Thing,” a non-single from its second album, Triangle.

From GAME album track “Take Me Take Me” to “Perfect Star, Perfect Style” included in the 2005 best-of collection, the P.T.A. show featured even deeper cuts released before “The Best Thing.” But more than acknowledgment of long-forgotten favorites, seeing Perfume bring back choreography that hasn’t been performed in almost 10 years seemed like one rare experience. I have yet to see clips other than “The Best Thing” from the show, but reading about the group revisiting old dances has been exciting material in itself.

Watching Kashiyuka, Nocchi and A-chan interact with old material was also the highlight of this spring’s Reframe concert in collaboration with NHK. As the title suggests, Perfume brought back past tracks from various parts of its catalogs in new, reconsidered contexts. Initially a throwaway B-side tied in with a Panasonic ad, “Display” was rebooted as the opening track introducing the show’s mission statement. “With a new, fresh experience,” began the EDM track, fitting this new environment far better than the original.

Reframe also included “Secret Secret,” one of the singles from GAME. After witnessing grand, sweeping choreography in Perfume’s dances for its recent singles such as “Flash” or “Mugen Mirai,” it was intriguing to watch the three revisit more meticulous movements favored during its earlier years. As Kashiyuka, Nocchi and A-chan packed in so many micro gestures throughout the chorus of “Secret Secret,” it showed how far they’ve come as performers. They no longer need to establish themselves so much on stage nor do they have to constantly entertain to make the music more palatable to new ears.

As much as Reframe gave a spotlight on how much has changed, it also dedicated space to show what remains the same. While Perfume’s electro-pop production has been a huge draw of the group since the very beginning, the concert spent a part of its set connecting recurring lyrics and themes in the music. The extended outro section of “Secret Secret” (remixed by producer Seiho) stitched together fragments of Kashiyuka, Nocchi and A-chan’s voices reciting words like “anata,” (you) “boku,” (me) “omoi,” (feelings) and “hikari” (light) culled from a few dozen songs from its catalog.

Out of all of the highlighted lyrics, “Koi” (love) is perhaps the most central topic that carries on in the music to this day. For all that Perfume talked up about its future-bass-inspired production, “Mugen Mirai” lyrically concerns a classic theme of newfound emotions which also inspires the group’s breakout single “Polyrhythm.” The title track to Future Pop further works in a similar vein, capturing the spark of discovery and a first-time encounter. The three marvel at the magic of technology, and their fascination speaks to the song’s inspired EDM production as well.

The wide-eyed wonder of Kashiyuka, Nocchi and A-chan towards their environment in “Future Pop” recalls the tone of GAME, where they, too, were being introduced to a new sound, setting, and series of experiences. Echoes of their past glories can be heard elsewhere in Future Pop. “Fusion” stands tall as the updated version of past mostly-instrumental anthems such as “Edge” or “Story.” The infinitely ascending “Tenkuu” works a chorus with an elongated cadence that resembles the chorus of “GAME.” The titular hook of “Chorairin” revives Nakata’s knack for writing in made-up phrases — think creations for Kyary Pamyu Pamyu but also tsundere-ation in “Puppy Love” — favoring purely its sound over meaning.

However, Perfume doesn’t pretend as though it can recapture its youth so easily in Future Pop. The members’ voices sings more in a worn-out sigh in “Let Me Know,” tapping into a prevailing uncertainty in settling down in a new environment — a recurring worry for Perfume since at least “Computer City” in 2005. In a self-referential album such as Future Pop, Kashiyuka, Nocchi and A-chan’s words sound as though they’re asking their former selves for advice. As they hand down a key to what looks like kid versions of the members in the music video, they provide enough materials in this single alone to signal their transition into an older guard.

Made up of a thump, a snap and a loop of a guitar pluck as its base, “Let Me Know” is one the most contemporary-sounding songs in Future Pop. The other singles, too, depart from the idea of classic Perfume as heard in a song like “Chorairin.” “Tokyo Girl” bridges American EDM to the works of Perfume, and “Everyday” responds to a post-Chainsmokers pop landscape. But if Perfume sounding like other producers is the future Nakata hopes to present in Future Pop, it’s a rather bizarre conclusion to reach after holding on to the pop wonders of GAME 10 years ago.

That said, it’s a realistic snapshot of the present, where electronic pop music has finally caught up with Nakata to the point he is now essentially referencing versions of himself. Future Pop, then, is an echo of what he has always done, and same could be said about the rest of Perfume’s ventures this year as the group reworked, fine-tuned and re-introduced a once-forward-thinking vision of its now-storied past. Rather than predict the future, that album title announces the arrival of it. Everyone involved can say with confidence, after 10 years from the debut album, that a time where this type of pop is accepted as the present might be finally here.