She's riding the Baby Metal wave with a few years of delay.
I can definitely see the influence, here, and I could hear the Japanese/Korean bubblegum pop influence in a handful of her other videos:
Nevertheless, this "Baby Metal" is uninteresting in comparison. All these girls are doing is Korean girl band choreography, then layering their pop vocal style on top of heavy metal instrumentals. At most they stretch into Evanescent's vocal territory, but not really, they just like minor keys. Otherwise, it's only novel enough to be a gimmick. It's boring. Poppy is operating on a much higher level. She's taken this, devoured it, transformed it, meshed it into a far more complicated crucible, and birthed something completely different out of that cauldron. Musically, she subsumes them, not the other way around.
Even in the above video she somehow incorporates the feeling of an 80's or 90's network TV sitcom theme soundtrack (especially in the guitar solo). It also draws from the current cartoons marketed by Disney and others to young girls. I'm familiar with this because of my niece. Stuff like
Elena of Avalor and
Sonia the FIrst. She's yoking disparate influences like this seamlessly-- sometimes deliberately
not so seamlessly-- in every song.
@rikwebb already mentioned many of the influences shown in the song in the OP. Break it down. The siren at the beginning of the song, and other signature flares, were a staple of the Industrial genre in the early 00's. Next up you get a thrash metal instrumental opening with the guitars and drums that reminds you of classic heavy metal like Metallica or Megadeath. Then she starts singing in the bubblegum pop style similar to the Japanese pop or K-pop which really puts you on your heels. Next it switches back to the metal, but not like before. There's a tempo change, and the background vocals sung in the croaking style. I'm reminded of Slipknot or Korn. That then transitions into the middle portion of the song when the electric harpsichord comes in. This reminds me of the Beatles and the baroque pop influence of the 60's & 70's. Around the 2:26 minute mark you catch the Queen influence in the arpeggio with the guitars. They're suddenly playing like those classic hard rock bands of the 70's with the additional hint of the stadium chant of the crowd shouting, "Poppy!". Finally, she leaves with the pop refrain, but it isn't like the K-pop style that came before. It's fully immersed in the 21st century western, Disney pop tradition I mentioned above, but with the guitarists again playing a riff that sounds like the style you'd hear at the opening of
Full House or
Step by Step.
One has to admire the technical versatility of the guitarists she has accompanying her. They can slip into any style as if it was their home. Meanwhile, the lyrics invoke the social commentary of Marilyn Manson. They are dark and macabre, but it's clearly a critique aimed at industrialization, and the cost in terms of human lives as well as to the environment. That's why she sings, "These lifeless flavors don't satisfy me". She specifically mentions ice cream and tea. The former is probably most closely associated with Europeans, since white people are almost uniquely the lactose tolerant race, and the latter is most closely associated with Imperialists (the British, Chinese, Japanese). Empires are built on the blood of the conquered. They chew up the flesh of their vanquished opposition, and transform it into a shopping mall. "Bury me six feet deep, cover me with concrete, turn me into a street" is the 21st century version of Joni Mitchell's, "They paved paradise, and put up a parking lot."
This girl is fucking brilliant. Not sure if her generation will be able to see that.