Ratatata: perfection in collaboration

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.

Ratatata hits the target Pt 2: the music video

Considering that both BABYMETAL and Electric Callboy (EC) are known for genre-blending, the MV for Ratatata portrays exactly that quite literally. Protective disco-ball / crash helmets on, EC's vocalists burst through walls like silvery Kool-Aid men, first shaking up industry suits having a meeting, then surprising SU, MOA, and MOMO who are off duty and out of character, just chillin' with drinks and being silly. While I was expecting full on choreography, this MV incorporates some theatrical acting which doesn't feature in BABYMETAL videos much. It's nice to see that little throwback to Sakura Gakuin days when there was a stronger narrative to their MVs.

I don't detect a lot beneath the surface of either the song or the video. They're both just outrageously fun, infusing a massive wave of energy that makes the listener throw up their arms like they don't care as they move, shake, jump, and stomp to the beat. I can imagine how deafening a 'live' concert featuring this song will be when the crowd chants along to 'ratatata!!!' at the top of their lungs. It's so infectious that you can't help yourself.

It's weird how every new song that BABYMETAL releases is an instant new favourite. I'll be listening to this one a lot, especially on my morning commute. When you can't get caffeine that early, the adrenaline jumpstart will be most welcome.

Ratatata hits right on target

BABYMETAL is not stopping anytime soon. A fresh drop today -- just the audio track for now -- but it's another terrific party anthem. Ratatata in collab with Electric Callboy (heard of them, never heard them... yet) turns the energy up to 10 from the get go, and never lets up. It has a very '80s disco mashed in with a '90s EDM vibe that picks a body up and makes it dance like nobody's watching -- and I hope to heck that no one was watching.

The English lyrics are simple enough -- end of the day, we're hyped to go to the club, meet our friends and dance our brains out until tomorrow. I'll check out the inevitable lyric video later to see what the Japanese lyrics say, but it'll probably be not much different. I think I heard a lyric that goes something like 'my body is a weapon', hence the onomatopoeic 'Ratatata' of a machine gun, like the sound effect YUI and MOA make in Gimme Choco, but the pace is slightly more spaced out than a chaingun would sound like, so I'm guessing it's more the sound of aggressive metal drums instead. Makes sense if we're imitating a wild dance rhythm.

Not sure what the metalheads will say, but despite the heaviness of the beat, it's more a dance rave than strictly metal. Radio-friendly. Regardless, it's so much fun to bop to, and as always, so positive in the anticipation of good times to come, no matter what we might have experienced earlier in the day.

As much as I like how BABYMETAL has matured in their vocal quality and choreopgraphy since The Other One, with the inclusion of MOMOMETAL, I'm equally glad that they have kept their fun, playful side and are continuing to crank out tunes that get the crowd crazy pumped with absolute bangers like Metali from last year (has it been that long already?), and this one.

If the official MV drops as soon as it did with Metali, that would be fantastic. I'm looking forward to check out the choreo as both bands are reputedly well matched in their emphasis on singing and dancing. Hopefully it'll be worthy of a more detailed second review.