3 Songs To Turn You Into A CityPop Fanatic

So why in the world would you listen to decades old Japanese pop funk music?

Because it’s good, that’s all.

I guess if I’m gonna make this claim, I should probably provide a small roadmap.

Plastic Love: Mariya Takeuchi

If you’ve heard the term Citypop before, you’re likely familiar with this song. Even if I wanted to avoid talking about this song, I couldn’t. The Youtube algorithm dropped this on unsuspecting internet citizens, and dragged each and every one of them down the rabbit hole that I’m now asking you to swan dive into.

Why? Why this song?

Well, it’s not a short verse-chorus song. Youtube clocks the song in barely under 8 minutes. It still has the pop structure, but instead opts for a verse-verse-verse-chorus structure. If you’re listening to the song for the first time, you’re likely waiting for the verse to bridge into the chorus. You’ll be waiting for a while. Don’t worry. It is worth it. Listeners are asked to wait for a chorus, which likely kept newfound fans interested for longer. The song forces you to listen to moving verses time and time again, but here is where the real magic happens.

It forces you to listen to the beat behind it. The beat behind it builds on itself, like any good pop song should. Basslines and synthesized sounds punch in and out with ferocity that the production tries to cover. These beats make your brain want to dance. This song grows on you a lot. It’s still a pleasant sound, and it’s very easy to become fond of it.

Finally the chorus comes, and eventually fades out with a bang.

“I’m just playing games, I know it’s Plastic Love” the beat is brighter, but still bopping. English speakers who aren’t familiar with Japanese finally have something they can sing along to. The earwarm sticks around, and by the end you feel compelled to sing along to it.

If You Wanna Dance Tonight- Toshiki Kadomatsu

If you’re an aspiring DJ, this song is perfect for you.

The fade in starts with ever-increasing guitar sounds, punched in by a triumphant synth chord. A DJ can find a million song ending that compliment the fade in here. The synth notes that officially start the song can work with any funk, blues, jazz, etc melody. Even if you’re not a DJ, you can find a way to appreciate the intro to this song.

When the actual song melody starts, it turns the jets up to 12. The bass comes in, always within ear-shot, and always slapping the life out of the instrument. The synth and guitar carry a tone that defines the atmosphere of the song. Do not confuse yourself though, the bass player is hard-carrying the beat. It’s fitting that the bassist gets a solo later in the song. It’s beautiful.

The main melody of the song comes up right away in the synth/guitar melody, before being echoed by the vocals. It’s beautiful to me how they emphasize “Tonight”, with vocal backup singers and an added synth chord. Thankfully for all of humanity they keep doing this throughout the song.

At first when the beat turns into a background melody, it’s simple. Staccato notes that emphasize the lyrics. They eventually turn into an ever-moving groove. It transitions into the chorus, with the same star-like quality of the intro. The bass carries the songs space-like quality into an intergalactic dance floor before the solos start. Very special shoutout to the slap bass solo, the notes move up and down in pitch, and the slap timbre gives it a special color to it. The song ends with one last blastoff the takes over the still-moving groovy background. I’d imagine that a DJ can find a song that transitions away from this fairly easily.

Bay City: Junko Yagami

All right, enough dilly dallying. We’re finally at the point where I can talk about one of my favorite pop songs I’ve ever heard. Brace yourselves…

The drum machine starts, bringing in a bassline that is going to hypnotize you. Don’t worry, this happens. The guitars and synth kiss the already beautiful sounds, preparing for the inevitable vocals. But first, a lyricless vocal hymn to bring us into the groove, then it happens. It’s a wonderous blend of supporting sounds that lift up simple, but vexing singing. Eventually, you’ll hear “Bay City” chanted in the background, with a little melody trailing behind it. It only helps the song, and is only going to get better as time goes on.

Eventually, the chorus comes to a stop as Yagami sings a bridge. I’d be lying if I said I was prepared for this. Eventually background vocals come in to support our ears. It’s chilling. The ensemble comes right back, building up to the release of one last full chorus. It finally unleashes like an angel above us, telling us that our world is going to be all right.

It’s hard to describe in words how much I love this part of the song. It fades out not long after as Yagami sings a bunch of doot-doos.

Citypop takes it’s inspiration from synth funk, new wave, and pop sounds. For people like me that don’t understand the Japanese lyrics, listening to the background sounds like I’m peeking into someone else’s dream. It’s appreciated in the same way that fans of American Funk and Soul appreciate that sound. From the cerebral vocals to the synthesized drum beats to the interdimensional synths, the citypop genre brings a good listen.