Where is the LOVE for Perfume?

oh relistening to "daijobanai" now and remembering how there's no functional snare in the entire song (what's hitting on the 2 and 4 is super subtle and basically manifests as a slight accent on the kick if one really listens for it; also that heavily reverbed pickup leading into the chorus, i guess), which is always an accomplishment for a banger (most impressively imo on "new slaves" which aside from the sample coda lacks percussion throughout, less what could be considered a kick/low tom here and there). love that song so much :')

wait are we talking about nakata's writing/production on "dream fighter" which was really still evolving out of his work on game and sugarless girl/more more more as "wheelhouse"? "autopilot"?

i have written a song and know theory, but i'm bad at both. regardless i think the structure and production of "dream fighter" is really surprising and dimensional in a way that you're downplaying in favor of novelty and economy

i mean obviously we listen to music for different reasons but u are really insistent about explaining in paragraphs how you tend to listen for very specific things, which i think is a narrow and very alienating approach if you're on a message board about discussing music

the singles on triangle were so comfort zone for him by then, maybe sliiight progressions but i would be interested to hear how you'd quantify these as songs as great leaps for him. (what is "surprises" you about "dream fighter?" how is it "dimensional?"

i think economy's important across the board (granted, a 20-minute song can be perfectly economical), but even if i think a song could stand to lose some weight (these ones, "nee," much other nakata) i can still appreciate all that it gets right. as for "novelty," i don't agree with that word's connotations – it makes something innovative sound like a party favor. but yes, as i believe i've said before (and why i'm motioning that we maybe stop talking about these things, at least in such catty ways), in an instance of two hypothetical songs that are of equal quality, i'm always going to prefer the one that arrives at that goodness in an idiosyncratic way. at this point in my life the strategy of how music achieves its goals is a huge part of why music even interests me, and i do think is a measure more 'objective' a discussion than your generic "i like this" vs. my generic "i like this." the why is what's interesting.

"i mean obviously we listen to music for different reasons but u are really insistent about explaining in paragraphs how you tend to listen for very specific things"

no? that is one sentence of what i posted above. the paragraph is me explaining what those specific things are that i find exceptional about x y z songs we're discussing...which is, yes, the entire point of a message board aboutg discussing music, as you've italicized it. all you ever say is "this is good, this is not" – can you explain to me how using concretes and bothering to expound is "narrow" and "alienating," or how that underscores some kind of superficial engagement or whatever you said the last time we had this convo w/ diff topical variables plugged in? or can we at least not do it anymore? it's just an ironic diss coming from someone who always responds with "yeah but you're wrong" or an emoticon or w/e

sorry for messiness, i need to start what my dictation software put down before hitting enter ;-(

*start checking XD

I like Spending All My Time quite a lot, but saying it's Nakata at its boldest just because he does a banal trick he hasn't employed before is a good example of why using 'theory' when talking taste can lead to baffling results. Similarly Point being unique just because it does genre elements? That could easily be turned around and used to argue the song is reductive and "musically risking little". Its use of breakbeat is a simple quotation in service of a catchy song.

Favorites:

Vitamin Drop
Monochrome Effect
Electro World
Computer Driving
Polyrhythm
Baby Cruising Love
Macaroni
Plastic Smile
Dream Fighter
Edge
One Room Disco
The Best THing
Kiss and Music
Natural ni Koishite
Nee
Glitter
Spice

More recently Sweet Refrain and p,erhaps Relax In the City just to get some easy listening on the list.

nah – the logic of those songs go deep. and these aren't so much "theoretical" points as ones to do with arrangement, structure, production, daredevil strategies (i.e. very few songs work as well as "spending all my time" does with as little or less, though i'd be curious to hear counterexamples), etc. it's the way nakata brings them all together that's special. though sure, if you isolate any one element of a song like "point" - or most any - it's easy to write off.

I'm not saying Spending All My Time doesn't do well with that choice, or Point for that matter, nor that it's not valid to bring these qualities up. You talked of originality/risk in a binary way though - these songs risk a lot, these songs don't (so they're worth less). I feel that's rarely the best primary factor to judge songs on, and I also think it's pretty easy to argue that some of your choices aren't more original than some of the others. Selective use of theoretical arguments - you like a song and find arguments for its uniqueness.

i'm sure you're right sometimes, though it very often goes the other way (per another discussion we've all taken part in, i actually disliked "missing you" until i bothered to analyze it a bit). in the case of nakata alone, though, i'd say that the songs i've mentioned are far more distinct from the rest of his work than triangle's singles...whether we agree re: the value of that or not

and i thought i made it clear, but no, i do not think an unusual strategy is central to value. but i do think in the case of two good songs, the unusual one is that much worthier. and that's how i come down on this particular selection of music, again all of which i like. i think it's great to disagree and i actually feel like i'm learning something by you articulating why, though i find brad's more ad hominem and sub-sentence responses redundant (esp when they're always about the same fundamental parallax y'dig)

i like perfume

http://www.dailymotion.com/video/x3aejcy_perfume-star-train_music

only realised the other day that Relax in the City is A+

New album april 6th COSMIC EXPLORER. New US tour in summer.

https://40.media.tumblr.com/e74b4c1b46439ac002ccc8ec3bc7e2cb/tumblr_o2jgwyVJUx1qbc57uo1_1280.jpg

Anybody who didn't see them last time, GO.

The greatest live act

album tracklisting

01. Navigate
02. Cosmic Explorer
03. Miracle Worker
04. Next Stage with YOU
05. STORY
06. FLASH（Album-mix）
07. Sweet Refrain（Album-mix）
08. Baby Face
09. TOKIMEKI LIGHTS（Album-mix）
10. STAR TRAIN（Album-mix）
11. Relax In The City
12. Pick Me Up
13. Cling Cling（Album-mix）
14. Hold Your Hand

I'm hoping, from the title, that this will be their move into full-blown Tangerine Dream / Italo space techno, although the presence of Star Train in the track list isn't boding well for that.

album mix though! could mean literally anything

[日程] 2016/08/26 (金)
[会場] The Wiltern（Los Angeles）
http://www.wiltern.com
[開場/開演] 19:00/20:00 (現地時間)
$39.50 / $49.50 / $59.50

[日程] 2016/08/28 (日)
[会場] The Warfield（San Francisco）
http://www.thewarfieldtheatre.com
[開場/開演] 19:00/20:00 (現地時間)
$49.50 / $59.50
　
[日程] 2016/08/31 (水)
[会場] The Vic Theatre（Chicago）
http://jamusa.com/the-vic/
[開場/開演] 19:00/20:00 (現地時間)
] $49.50

[日程] 2016/09/03 (土)
[会場] HAMMERSTEIN BALLROOM（New York）
http://www.mcstudios.com
[開場/開演] 19:00/20:00 (現地時間)
$39.50 / $49.50 / $59.50 / $64.50

[日程] 2016/09/04 (日)
[会場] HAMMERSTEIN BALLROOM（New York）
http://www.mcstudios.com
[開場/開演] 19:00/20:00 (現地時間)
$39.50 / $49.50 / $59.50 / $64.50

mmmmmm

Two New York shows over Labor Day weekend? Man, I have no excuse for skipping that...

Perfume kung fu fighting!

https://www.youtube.com/watch?v=HM63o4UlUPU

The album is... OUT

http://www.generasia.com/w/images/3/3e/Perfume_-_Cosmic_Explorer_(Regular_Edition).jpg

hearts in my eyes at the instrumentation for "next stage with YOU"

wtf @ "story"

re: the album mixes, "flash" is a sort of baffling abstraction of the original (see also "spending all my time," but i think this one works better), "sweet refrain" is sort of improved but also randomized, i don't remember what the original "tokimeki lights" or "star train" sounded like at this point, "cling cling" feels less stuttering and awkward

i almost wish he'd done something to "relax in the city" and "pick me up" but then those were my favorite singles, they're perfect as they are

in fact in its album mix "cling cling" kinda sounds like a follow-up to "voice"

Tokimeki Lights is just the kind of warm, comforting Perfume track, mid-tempo, with uniquely Perfume-y flourishes, a little piano - they did these quite a bit in earlier years and all my defenses break down.

Story: For people who felt the EDM elements on the last album were far too subtle.

it's distinctly less enjoyable than "party maker" but i imagine it goes off live

"hold your hand" is an inspired idea for a closer imo

Story is the intro music from their SXSW showcase. It worked at an intro, but... It's quite funny, at least, that it comes at the point it does on the album. BAM!

Like this a lot. Baby Face is cute.

I like the album on first listen, but its multifaceted-ness takes some getting used to. The title track could easily be covered by a power metal band like Sonata Arctica or somebody, and I'm not sure we needed two ballads (one with acoustic guitar). And the stuff that seems most blatantly aimed at US dancefloors is a little hard to take. I would have preferred more ultra-hard capsule-style techno tracks. But "Pick Me Up" is still such a great song it balances out a lot of the less-immediately-awesome stuff. I'm gonna listen to the album a few dozen more times and see if I change my mind.

i really should've learned years ago to stop actively listening to perfume singles and just wait for the album but the sequencing on this record is really bizarre to me and i can't tell if it actually is or i'm just hyperfamiliar with the back half

I haven't listened that much to the singles, and I also think the sequencing is really weird. I kinda like that, though.

was just remembering how I felt the first time I heard the cut-up part of "polyrhythm". still prob the best thing I've ever heard

The sequencing is really weird; it doesn't come to a conclusion like an album "should," it just sort of...runs out of tracks.

Perfume can even make tropical house sound good <3

dang. if you got rid of the title track and "story" this would be a much tighter record – and still plenty substantial at 47 mins.

surprised by how enjoyable and compatible these songs are otherwise, even if they might not have much to match the highs of their other albums. really in love with "miracle worker" for some reason

think this might be my fav Perfume song in quite a while
http://mikietsang.tumblr.com/post/164736017493/perfume-everyday-video-clip-lq

mugenmirai

https://youtu.be/Q51bru32S7A

https://www.youtube.com/watch?v=5WQZ_Q8e_pU

whoa

"fusion" intro is... not unlike dopplereffekt?

I don't really care for "mugenmirai" tho. man, enough with the dubstep wobbling already, nakata.

btw anyone listen to his recent solo ablum? I'm afraid to.

I'm curious about it but man is it getting some terrible reviews

yea it feels like he still hasn't really recovered from that dark EDM bro period

Just got an email from my friend Patrick, he's written about GAME for the 33 1/3 series, he's a great writer, very well informed and kinda gossipy in a good way, I'm looking forward to checking this out.

oh tight, been meaning to check that out, nice to hear a good uh testimonial

would read!