After some processing time, I'm ready to dive deeper into the BM-EC collab, Ratatata music video.
As I mentioned before, there's no undertone of a message other than how it presents a different take on metal music that is goofy, fun and 'excellent for dancing'. Nothing new there, as both bands are well known for their unique twists on metal. The music and video are an example of a perfect collab precisely because of this versatility and nothing-is-sacred attitude towards the genre they've made themselves at home in.
Perhaps it's something I've been thinking about lately, but Ratatata perfectly blends both EC's chaotic masculine energy with BM's feminine vibrancy into a pairing that literally makes beautiful music together. EC's Nico and Kevin break through walls that enclose first the masculine world of corporate power (yes, there're women in there too, but they're dressed in male power suits) and shake it up. Meantime, BM are having a girly tea-party comprising colourful cocktails, and posing for their Instagram feeds. In the translated lyrics, SU sings about being a temptress, luring men into her trap -- which is essentially kitsune lore. The boys abruptly break in uninvited, springing her trap unexpectedly. Still, with Vault 33 Lucy's 'okie dokie' spirit, the girls welcome the intrusion with a cheeky 'check out these dumb boys' look. But then the boys suddenly exit through the wall Stage Left mid-chorus, leaving the girls dumbfounded. Staring at the hole in the wall, their mouths agape, the girls can't believe the boys have escaped just like that. Closest to the camera, MOA is a total cartoon, all slack-jawed and blinking uncomprehendingly at the carnage. One by one, they peek through the hole... cue transition.
Like in Metali, there's a little interlude. Here the opposing sides are literally reflected in the mirror ball, with a bit of a role reversal. SU and Nico are on opposite sides of the giant ball, representing geographic east and west; Venus and Mars energies. Except SU is on the left, where west is supposed to be, and Nico on the right, technically east. The heavy instruments cut out and Nico's tone drops to a wistful longing for the friends he needs. He reaches up to the ball (the world?) with one hand, but hesitates before withdrawing his closed fist. When the instruments come in again, it's SU turning up the warmth in her voice and with open arms, she embraces his gesture like the big sister she is. SU exactly echoes Nico's lyrics but exudes confidence, committing to her offer of friendship. It's suggesting that despite all their bravado, men have a vulnerable and shy side too, and women can and do take the lead when they want to. BM unexpectedly takes the final 'Ratatata' putting their own feminine spin on their delivery, dropping a 'tata' (excuse me?) while they're at it.
Following Metali's narrative structure, the EC boys crashing through walls suggests that the music cannot be confined in any box. It's neither male nor female, one genre or another. Together, BM and EC appear on a stage large enough to accommodate EC's entire band, sparks shooting off an overhead flybar. Music has to be brought out to the world for everyone to enjoy -- clearly with the insistent repetition of the word "everybody" It's an invitation for everybody to go nuts, if they haven't already lost their minds since the song started.
When masculine and feminine energies flow with each other fluidly instead of clashing in conflict, we achieve the perfect yin yang state. 'Ratatata' is the sound of war, but in this track it's the sound of joy and harmony, with a touch of crazy. Perfection.
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