Kyary Pamyu Pamyu Fashion Monster Dress
Kyary Pamyu Pamyu is four studio albums deep (at time of writing), which is four albums deeper into a career than I think many of us thought that she'd ever get after "PONPONPON". Simply her own musical artistry aside, there is no escaping the fact that Kyary has put out music which is far better than information technology ever deserved to be. But for a while, her music e'er seemed to be propositioned equally a secondary component to her visual endeavours and whatsoever product of the week she was promoting. Hearing these songs in twenty - 30 2d bites did zero for me, and this acquired me to miss out on what is yet to this day ane of her best singles. "Fashion Monster".
"Fashion Monster" is a song which is easy to dismiss on a starting time mind, or if you lot only hear the chorus of information technology; which is why I call back the TV commercials the song was used for didn't practise this vocal justice. The chorus on "Fashion Monster" in isolation sounds like an badgerer. This was certainly my experience when I outset heard it. It was only when I listened to the album on which "Mode Monster" features, and heard the song in full that I realised how fucking expert the song was, and that the chorus is probably the least interesting office of the whole affair.
Whilst "Fashion Monster" was initially made to be function of a musical tie-in with Uniqlo's sister brand G.U. - as is the case with Nakata, the song has a dual meaning. "Way Monster" makes obvious sense equally a vocal used in a clothing commercial which was released during the calendar month of Halloween. But "Fashion Monster" also contextualises Kyary's visual artful, which she has previously described as fusing really cute things with elements which are grotesque. This is what makes "Way Monster" kinda genius, because it'due south fulfilling two purposes and pushing two brands simultaneously without one cancelling out the other. The result is not only a song with more layers than you lot'd look where the chorus has somebody screeching ♪ FASHUN MAAAAAAANSTAAAAAAAAH ♪, but i which also acts as a groovy introductory song to Kyary Pamyu Pamyu. Whilst "PONPONPON" is probably regarded past many as a quintessential introductory Kyary song, I'd say "Way Monster" is a better option every bit a standalone song. "PONPONPON" works best when it's presented with the video. But the song on its own? It doesn't hit the aforementioned. "Fashion Monster" on the other mitt?
Bat wigs. Flying.
At this stage in her career Kyary was as popular as always, due to the sheer chaos of her music and visuals, the way she intersected parody and pastiche, and how self aware she was. Only who Kyary was and what she was trying to even achieve was nevertheless a mystery. Whether it intended to or non, "Manner Monster" kinda answered at to the lowest degree some of those questions. And looking at where Kyary is at in her career and what she wants to strive for in the wake of a song similar "Gentenkaihi", "Fashion Monster" feels all the more than aboveboard and poignant at present then it did back in 2012.
The only affair more potentially heady than an artist being on the scene who was willing to look an absolute mess in the name of amusement, was that they were being produced past Nakata Yasutaka, who had go popular via his work with Japanese trio Perfume. During this period of his career, Nakata was still giving united states of america greatness and consistency. And whilst his piece of work for Kyary was in a unlike wheelhouse to that of Perfume, information technology did tap into some of his earlier sounds with Capsule, whilst pulling it in unlike directions. No matter what Nakata was or wasn't trying to do, his approach to production was the same. Meticulous.
There are so many astonishing nuances to the production of "Fashion Monster", that every time I listen to it, I notice something new or dissimilar. But whilst "Fashion Monster" has some of the typical traits of a Nakata production, information technology also has a whole lot of texture to it, which isn't common for him. The rock elements via (what sound like, but probably aren't) live guitars and drums requite the vocal a vibe and a tone that you don't e'er get with Nakata's piece of work. "Fashion Monster" is a song which would audio great if played by a live ring, and this isn't a quality that a lot of Nakata'southward songs have, due to them sounding deliberately electronic, very digital and sometimes cold. "Style Monster" by comparing feels, for far more analog. In that location's a warmth to the sound.
"Style Monster" is just an interesting song to listen to because of all of the places in which it goes, and how it manages to swing from rock into cutesy pop then back once again and so but fuse the two whenever it feels like. Equally was a theme for much of Kyary's material at this point, lots of things were working perfectly here, which easily could take wound upward a mess.
Listening to this song now in light of the barely consummate productions Nakata has been phoning in for Perfume since 2014, information technology's hard to believe that the aforementioned guy who produced Perfume's Future Pop even fabricated this song. "Style Monster" doesn't have a single lull in its iv and a half infinitesimal runtime. Even sections of the song which feature repeated lyrics don't utilise the exact aforementioned passage of music copied and pasted. Instrumentation is brought in, instrumentation is taken out, the sonics are played with to create a different energy as the song moves through its phases. Nakata's organization of "Fashion Monster" is masterful, which is why I am so dismissive when he drops lazy sounding songs. I know he can do better, because he was responsible for gems similar this.
"Manner Monster" is so practiced that it really didn't need a B-Side. Simply Kyary was really trying to brand the music thing piece of work, so we got one. "100% no Jibun ni" is fine, merely nothing special. Especially when compared to the beast that is "Fashion Monster". The wholesome, super cute vibe of the song completely contrasts with "Manner Monster" and the visual theme of the cover art, but that's Kyary for you. In retrospect, I go why this was left off of Nanda Drove, and feel that it woulda fit Pikapika Fantajin pretty nicely had Kyary held onto it. Information technology'southward non the about memorable song, and when I ever see the title of it, I go it confused with "Kimi ni 100 Percent" (which is a better song). But it's cute.
For a popular star who was just doing music for fun and not taking herself seriously, and a producer who seemed to be having fun exercising being able to be kooky and fun, "Fashion Monster" is a pretty great song and a serious deal. Maybe this is why information technology's nifty. In that location was no real expectation of information technology, in that location was no roadmap. It was just 2 people striving to make something fun. But the sentiment of the vocal is also what makes it work in earnest, because so few artists at the time were going in this campy and kooky direction with their music, aside from the blueprint; Tomoko Kawase. And as she had proven, forth with artists like Michael Jackson and a song like "Thriller", there's a market for kitsch and conceptual songs, which are a bit daft; as long as they're good and self enlightened. "Fashion Monster" understands that and embraces that; mark a song which is not only a highlight in Kyary'southward discography, and a song which should be a fixture in every Halloween playlist without fail, merely a bang-up popular song first and foremost.
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