Yes, indeed.drnrg wrote:@Everyone
In other words we all miss
However, I've lost faith in new songs at this point.
Maybe switch between A-Beat-C drawer material to Time related material?
Agree.Mindsweeper wrote:I feel ya. Eurobeat seems to be getting a bit trancier with time, which is unfortunate for me, because I got into eurobeat after I was sick to death of trance.Bonkers wrote:
My problem is that the sound of eurobeat itself just isn't what it use to be. I miss the 80s influence in the tracks, mixed with the disco sounds. The synth lines (except for a few SS gems here and there) just aren't as hyper/stand-outtish....the synths all blend together now like a trance chord.
down with supersaws, long live super brass!
No. As I go back through my collection, I just can't see the traditional TIME fitting in with the current mold of Eurobeat. Eurogrooves might stand a chance, but not Time. I love the old disco sound of Time, but I feel if TIME were still producing, it would still be the same sound.para_rigby wrote:
Lastly, I'm sure I'll get blasted over this view, but am I the only one who does not truly miss TIME/EUROGROOVES being on SEB?
I always laugh when people say SCP is the most cutting-edge label in the genre but fail to give details as to why.para_rigby wrote:Sadly, I only get excited by GGM, SCP, or Sinclaire's entries anymore since they are the only one, IMHO, that try to push eurobeat in some sort of direction. I can't think of one GGM/SCP entry that has truly sucked this year...(if "Lovely" was less vocally distorted--I would love it even more!).
For lack of a better way to put it, they have a particular "cool" factor that's a bit less than easy to describe, though their suggestion that Eurobeat AND other forms of modern dance can blend well (Welcome to the Show), had a sense of humor/aren't taking their productions so seriously that they can't have some fun (Bamboo Bimbo, Wacky Wacky Oh), and have a noted finger on the pulse of independent productions (more of their Facebook/Twitter presences). Their mixing/mastering also seems to remain consistently tight without flaw OR getting excessively stale.Jay wrote: I always laugh when people say SCP is the most cutting-edge label in the genre but fail to give details as to why.
I doubt SCP as a label holds the entire future in their hands. It could also fall to the other labels, or even an unseen party of which none of us knows, even outside of my own foresight.Jay wrote:There are very few SCP songs that have really tried to push the boundaries since 201; the only three I can think of are 'What D'You Want From Me', 'Boys (Do) Fall in Love' and 'Higher Higher More and More.' Otherwise, SCP have been doing the same thing over and over for years now. How is 'Hot Hot Racin' Car' by Go 2, for example, pushing the boundaries? It sounds exactly like 'Spitfire'! Also, pick a random song in Fastway's solo discography since the 160s and I guarantee it will sound nearly the same as 'The Element of Fire' more often than not. If that is the 'future of eurobeat,' there is not much of an innovative future to look forward to.
HRG's suffered with the burnout (and thus loss) of Festari. That said, they DID do a good bit of experimenting with the last two 'decades' of SEB, and I appreciate that wholeheartedly.Jay wrote:Ironically, I actually think HRG has been the label with the greatest willingness to experiment with their sound since 201. Their brief Italo run in the 200s/210s was inventive while all the other labels were doing the exact same thing over and over again. A shame that they have gone back to being stale in recent times though. Sunfire tend to have a fresher sound than others too but that is perhaps unsurprising considering that they are still a relatively new label. Most of their recent entries have rubbed me the wrong way, particularly the Dave & Futura duets.
Dima has become slightly samey in terms of production, though even their "same" productions are at least listenable. (I don't disagree, I just think it's not as bad as it could be.)Jay wrote:Sinclaire and Dima are the epitome of 'bland' in recent times. Dima Music, in particular, is producing far too many songs lately and that is becoming a tax on their creativity. They need to slow down.
I disagree strongly with the italicized. Just because SEB as a compilation has been slow to adjust doesn't mean the entire genre, in every facet, is doomed to suffer. Besides, every time I've heard someone propose changes to the genre so it CAN catch up, the most common reaction is "DON'T CHANGE MAH EUROBEETZ". How can they change what we refuse to let change or adapt for fear that it might attract people with... dare I say it... other tastes???Jay wrote:All in all, eurobeat as a whole has fallen so far behind with the times and I just wonder if they are ever going to catch up.
Jay wrote:Avex STILL have not made their music accessible to an international audience, even in light of the recent advent of Soundcloud that is redefining how we interact with artists and share music. Are they ever going to get on board with this seemingly arcane idea that music is the international denominator for bringing people together? I doubt it, and that has always disturbed me.
Avex has at least acknowledged us. I wonder if it's a case of "doesn't care about us" so much as "lacks the ability to properly cater to us". If Avex truly didn't care about us, they'd have axed this money-sink of a compilation a couple of years ago.Jay wrote:I will probably be selling my entire physical collection from SEB 141-205 sometime in the near future since I feel like I have juiced the genre for all its worth. There really is nothing to look forward to anymore in terms of the music and Avex still does not care about us. Time to high tail it, I think.
One thing I truly love about Sinclaire's productions, even at their worst... is that his love of Eurobeat is truly omnipresent in the track. He is genuinely passionate about the style, and it not only shows in the track itself, I think his performers get a bit of the vibe too. Sinclaire hasn't always impressed me, but he's ALWAYS had my respect.drnrg wrote:Sinclaire Style is really in top form. Thier is a new aggression in his composing. He is also revamping his old aliases into shape while keeping strong his veteran vocalists like Bon and Dejo.
I can imagine being the only remaining producer can be extremely straining for Mr. Capaldi, perhaps they need someone else in house to take on the other half of the workload?drnrg wrote:DELTA are up and down. Surviving without Newfield has been harder than they expected and they need more vocalists in their stable.
Agreed. I kind of hope they can return to the level of fun and excitement that drew me in so many years ago, though their recent renaissance in trying new approaches has also been quite appreciated.drnrg wrote:I still have to see how HRG Attack fares without Festari in the long run. Will Rimonti just take up his former (X)Joe names or will he create new and exciting aliass? For me the biggest stregnth for them was bombarding me with multiple compilations a few years back. gave me the feel that thier stable was full of artists.
I think the female-sung songs are being produced by Futura? Either that or Dave is messing something up with the ladies... either way, as much as I hate to admit it, I can somewhat hear what you mean (excepting "You're Amazing" by Norma Sheffield, as I found that one was fairly well-done). I hope Sun Fire can stabilize their production soon, I hear a LOT of potential for them if they can just get that right.drnrg wrote:I love Sun Fire, but only thier male tracks. It's usually Dave Rodgers who pulls through on every disc. Powerful T. is very good also, but his female sung songs still lack that extra punch that classic ABeatC had.
I absolutely adore SCP's work lately, but I agree, though mostly for that reason— longer SCP = MORE SCP, so let's do that for sure!drnrg wrote:SCP also goes up and down, but I love that they create a new alais on almost every disc. For me it's about the legnth of thier songs, but that's pretty much the only flaw I have with them.
I've said my peace on Dima, so... I just hope they can get some new creative sparks soon.drnrg wrote:and last comes, DIMA, who pretty plays it safe now adays. Not only with the songs, but with the artist name "David Dima". It becomes too monotonous. My suggestion is bring back the names Big Warez, Chemical Boy, Joe Tempest. I can bet my life he will make the songs sound different then. Just last year when he brought back the name "Dee Dee", proved my point. "The Dark Side Of Your Moon" didn't sound like a Dvaid Dima song did it? No. It sounded like a Dee Dee track.
I can gel with that idea of variety for sure. New names might be easier said than done, and netting new fans anywhere might be tricky with hundreds of new names... as much as I like new names too. ´• w •`; But yes, let's hear lots of new things this upcoming year in the SEB series!drnrg wrote:I'l gonna say that the lack of Artists or even Aliases, for that matter is what's brings down the level of SEB for me. I miss the days when each label had no less than 7 vocalists. The excitement was seeing new names on every disc. back in the golden era; while thier was countless aliases for every label, there was also a different sound for evryone of those aliases.
In other words; variety. That is what I hope for the new Eurobeat year.
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