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New Kyary Pamyu Pamyu: “Kimiga Iine Kuretara”

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The most interesting developments for Kyary Pamyu Pamyu pop up outside of the music on “Kimiga Iine Kuretara.” Dig into the credits here and you discover this single came out via a company with the same name as the song itself, rather than Warner Music Japan (no idea what that means, and have no official statements on it so…that’s just speculation). The accompanying video was made in conjunction with Lute, which now puts Kyary closer to Jvcki Wai than Aimyon. Plus, the clip features a segment where a Virtua Fighter Kyary beats up people labelled “staff” (plus a dude who might be the Sekai No Owari guy, at least I hope so). A lot going on here, and it sounds like a bunch of changes for her now!

“Kimiga Iine Kuretara” the song, though, isn’t really a huge departure for her — it’s just a lot tighter. Not to pretend my Twitter feed somehow represents any kind of deeper insights into anything, but I’ve heard a few people saying this is a sort of return to form for Kyary and producer Yasutaka Nakata. Which…that album from last year is still kind of bonkers, give it another listen! “Kimiga” is a better sound pop song, as Nakata loosens up a bit to create something with a little more depth to it (see the woodwind touches, or the 8-bit passages, or the drip-drops — he crams a lot in to this number, but it all clicks). Lyrically might be the most intriguing twist here, with Kyary returning to topics of youth, specifically the power of social media likes and how that digital connection can feel great (another change — English lyrics from the get-go!). I feel you could go deep into what this actually means — direct connection with fans vs traditional power structures — but now I feel like I’m jotting down conspiracy theories. Anyway, the release of this feels like a lot of huge changes happening for Kyary, but the song itself reminds of just how catchy her world can be. Listen above.

New Waater: “Ocean”

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Can’t tell if this is self-referential or what, but hey…Waater with a song called “Ocean!” Getting over the cuteness of the name, this splash of their next EP offers one of the most immediately pleasing indie-pop cuts they’ve put together yet. The fuzzy edges remain, but now that noise doesn’t get in the way of the hooky melody and background harmonizing. This is straightforward, displaying a little bit of edge (guitar solo!) but knowing that sometimes you just have to deliver something that will get stuck in one’s head. Listen above.

New Amps: “Tomboy” EP

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Consider this the opposite of the last post featured on the blog…that number went super short, while the songs on producer Amps’ new EP keep twisting and turning like one of those rides with sharp turns and cardboard cutouts that move out of the way. Tomboy’s title track sums it up — it’s a rollicking dance number sometimes careening into garage sound. Would be a nice pump-you-up jam at two minutes. It goes almost seven, featuring several false finishes and a lot of subtle changes in what’s happening. And it works, even if it comes close at times to exhausting ideas. The other songs here don’t go quite as long, but aren’t far off. An exercise in making length work for you. Get it here, or listen below.

New Magical Ponika: “Nemuru”

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A minute and 30 seconds might not seem like a lot of time to leave an impression, but Magical Ponika makes that run count on “Nemuru.” It falls somewhere between her more joyful cuts and something like “We Are Anyway Die.” It uses a bell-centric beat to create something apt for the nursery, but with a beat and (especially) a vocal performance from Ponika meant to shake anyone out of their snooze. It’s just a snapshot, but a good reminder of her skills. Listen above.

Scrambled Ecstasy: samuragosha’s “fake documentary / Wi​-​Fi”

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The best song on tofubeat’s Fantasy Club is “This City,” a number that frequently feels close to collapsing in on itself but focuses together to create a stretch of ecstatic release. Producer samuragosha conjures up the same type of vibe on this two track release from tofubeats’ Hihatt imprint. Opener “fake documentary” mostly putters forward while digital noises sounding closer to an on-the-fritz fax machine sputter off. Yet beneath the scrambled sounds pleasant melodies peak out, and at times the song switches up entirely to a rising piano melody that hints at pure release. But it almost always vanishes just as quickly, until a little later in the song when one stretch of joy really shines through, all that tension making it hit just right. “Wi-Fi” is far more straightforward, offering up a great house number with a somewhat similar jitter to it but ready right out the box. Get it here, or listen below.