Super Eurobeat 204

Everything that is eurobeat can be discussed here.
drnrg
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Post by drnrg » 08 Jun 2010, 07:06

Jay
"Cataclysm Night" just sounds like a rehash of "Get the Dark Side Into My Brain" to me - a crappy rehash at that.

I always have a tough time following the words to just about any eurobeat song but HRG takes the cake for the sheer incomprehensibility of their lyrics. Even with those lyrics in front of me, I still have a difficult time following along with Joe Banana singing about the end of the world. Oh well.
Really? You didn't like "Get The Dark Side..."? I thought it sounded more like "I'm Your Gangster"', especially around the verses. Anyway ,it still has that cool Dead Or Alive melody; which is why I love HRG Attack.

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Post by Jay » 08 Jun 2010, 07:19

drnrg wrote:Really? You didn't like "Get The Dark Side..."? I thought it sounded more like "I'm Your Gangster"', especially around the verses. Anyway ,it still has that cool Dead Or Alive melody; which is why I love HRG Attack.
I liked "Get the Dark Side Into My Brain" (actually, I thought it was HRG's best song of the 160s), but "Cataclysm Night" just has far, FAR too much going on for me to enjoy it. "GTDSIMB" had quite a bit going on too but it wasn't anywhere near as insane. You might be into that level of insanity as per "Cataclysm Night", but my mind is already worn out after one listen. Haha.

I'll just respond to one of the earlier posts.
the_ditz wrote:You see, this is my point. I don't want an artist to necessarily sound and act the same on every song they ever perform. Elena Gobbi's vocals have evolved over time to the present day where we find her far less screechy yet still maintaining that unique Lolita "twang". The reason I adore Good Love & Mystery is because of the song itself - it is a really, really catchy piece of song-writing with a killer melody.
The reason you like Elena Gobbi is the reason I really don't care for her anymore. Gobbi just blends in far too much with the other female eurobeat vocalists nowadays and doesn't stand out anywhere near as much as she used to. As I mentioned in my last post, there was no other vocalist like her who could reach those high notes, and there currently isn't. Gobbi was unique in that regard; she added something truly special to the genre as a whole that I miss dearly. Yes, her voice has evolved over time and maybe it's time for me to get over it and appreciate her latest songs for what they are, but her screechy self was one of the main reasons I was so engrossed by eurobeat in the first place.

What you probably need to realise is that you and I approach music in extremely different ways. I prefer taking songs by a particular vocalist or label, compare them with their other productions and reach a conclusion through those means. You, on the other hand, prefer treating an artist's song as an autonomous entity that shouldn't be juxtaposed with their older songs. There's really no middleground to either approach and we could be debating about this for a very long time if we wanted.

the_ditz
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Post by the_ditz » 08 Jun 2010, 21:23

Jay wrote:What you probably need to realise is that you and I approach music in extremely different ways. I prefer taking songs by a particular vocalist or label, compare them with their other productions and reach a conclusion through those means. You, on the other hand, prefer treating an artist's song as an autonomous entity that shouldn't be juxtaposed with their older songs. There's really no middleground to either approach and we could be debating about this for a very long time if we wanted.
I think that's a pretty fair summary all around, and I'm not saying that your approach is wrong - how can it be, you are free to enjoy Eurobeat for whatever reasons you choose. I just find it hard to understand why sometimes people are so obsessed with comparisons when it comes to new tracks.

Anyway, Lolita and Good Love & Mystery will just be two "agree to disagree" points for us I guess :P

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Post by Densetsu13 » 08 Jun 2010, 23:09

Jay wrote:
drnrg wrote:Really? You didn't like "Get The Dark Side..."? I thought it sounded more like "I'm Your Gangster"', especially around the verses. Anyway ,it still has that cool Dead Or Alive melody; which is why I love HRG Attack.
I liked "Get the Dark Side Into My Brain" (actually, I thought it was HRG's best song of the 160s), but "Cataclysm Night" just has far, FAR too much going on for me to enjoy it. "GTDSIMB" had quite a bit going on too but it wasn't anywhere near as insane. You might be into that level of insanity as per "Cataclysm Night", but my mind is already worn out after one listen. Haha.
QFT. I too am a fan of get the dark side into my brain, found this track sounded quite similar to it, thought it was WAY too busy, could not understand a thing the man was singing even though it was in english, and am happy having only listened to it once for the same reason of my brain saying "enough!" :D
ryosuke63 wrote:
DarkSky wrote:Btw did anybody notice that the lyrics of Cataclysm Night actually did make sense? It goes about 2012 !
@Lebon:
I didn't need a hard copy to do my review, did I? :P
Unless you're going to comment on the album art/packaging, why not just review it now?
If he's anything like me, he's anal and rather wait until his copy arrives rather than DLing some random dude's badly done rips >_>

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Post by ryosuke63 » 08 Jun 2010, 23:41

Densetsu13 wrote:If he's anything like me, he's anal and rather wait until his copy arrives rather than DLing some random dude's badly done rips >_>
Heh, well I have it in FLAC, but I see your point. I hate when that happens.
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Jay
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Post by Jay » 09 Jun 2010, 03:14

the_ditz wrote:I just find it hard to understand why sometimes people are so obsessed with comparisons when it comes to new tracks.
Well, I could question your approach as well. How can you review a song by an artist/label/producer without even considering their previous songs? I always find myself taking a comparative approach regardless of whether I'm conscious of it or not.

Now that I think about it, this is probably why there's also such a sharp divide in opinions over HRG. Those who use this autonomous song approach tend to like HRG far more than those who are, as you say, "obsessed" with comparing their older songs to their newer ones. Those who take the comparative approach like myself will always be disappointed with HRG, I guess, since it's obvious that LMS are never going to reach the same level as "Super Euro Flash" and the likes ever again. Even though there's seemingly more doom and gloom to a comparative approach, I don't think there's anything wrong with it. Such an approach shows that the LMS producers are actually quite capable of producing something phenomenal, but they simply choose not to these days.

drnrg
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Post by drnrg » 09 Jun 2010, 10:41

Jay
Now that I think about it, this is probably why there's also such a sharp divide in opinions over HRG. Those who use this autonomous song approach tend to like HRG far more than those who are, as you say, "obsessed" with comparing their older songs to their newer ones. Those who take the comparative approach like myself will always be disappointed with HRG, I guess, since it's obvious that LMS are never going to reach the same level as "Super Euro Flash" and the likes ever again. Even though there's seemingly more doom and gloom to a comparative approach, I don't think there's anything wrong with it. Such an approach shows that the LMS producers are actually quite capable of producing something phenomenal, but they simply choose not to these days.
That's a bold statemment to say that LMS will never reach the level of that Super Euroflash or the Euromach years. Sure those were great songs, but you really have to do is look beyond what AVEX chooses from them and take a listen to some of thier unreleased as well as new material on Juno to make a fair assesment. Try My Sister, Black Jack,Anthem and that's just to name a few that are in fact right at that level. What's funny is that I like to compare thier new stuff to older stuff , but I do it to hear for the great melodies and wackyness, that is anything, but lost. They have added a lot of different sounds and ideas to thier songs and It's not just one racing song after another. They have retired the ever annoying chimebells effect. Infact they have also started mixing the added female accompanying vocals more in the backround. You can hear this in Cataclysim Night. I think it's fair to say that you are pretty much stuck in that "Super Euroflash era and really need a song like "Stargate" to shake you out of it. Let's see what the new Cy-Ro song does for you, since the title sounds very unlike HRG Attack songs. :wink:

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Post by the_ditz » 09 Jun 2010, 19:51

Jay wrote:
the_ditz wrote:I just find it hard to understand why sometimes people are so obsessed with comparisons when it comes to new tracks.
Well, I could question your approach as well. How can you review a song by an artist/label/producer without even considering their previous songs? I always find myself taking a comparative approach regardless of whether I'm conscious of it or not.

Now that I think about it, this is probably why there's also such a sharp divide in opinions over HRG. Those who use this autonomous song approach tend to like HRG far more than those who are, as you say, "obsessed" with comparing their older songs to their newer ones. Those who take the comparative approach like myself will always be disappointed with HRG, I guess, since it's obvious that LMS are never going to reach the same level as "Super Euro Flash" and the likes ever again. Even though there's seemingly more doom and gloom to a comparative approach, I don't think there's anything wrong with it. Such an approach shows that the LMS producers are actually quite capable of producing something phenomenal, but they simply choose not to these days.
I don't find it fair to compare a song to others by the same name that were released years ago because styles change and evolve. As a result, I find it more fair to review a song based on how it sounds today as a very separate entity for others by the same artist. In hindsight, I can understand why you would compare when you review, but that's just not how I generally roll.

LMS have far fewer flashes of inspiration nowadays compared to the days of Super Euro Flash, so I can understand your disappointment in them nowadays. Perhaps it was just because the labels was fairly fresh on the scene back then and its style hadn't had all the years and years of samey releases to dilute the initial impact. Still, tracks like Shake Me Up, Turbo Night and Super Euro Flash still sound fresh and exciting today, so this may not be the case :P

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Post by para_rigby » 09 Jun 2010, 21:25

I only really had a handful of songs on this album that I really liked:

Good Love & Mystery: I'm a total Lolita fanboy, if you didn't know. I can't think of a single song that E. Gobbi under this alias that sucks! The few moments where her vocals go up and down (before the sabi) is pure bliss. I really want her to be in the spotlight in every album!

Promised Discoland: SCP's most underrated singer, IMO. Melissa White has tremendous vocal abilities in eurobeat. The song felt like a mesh of My Wish and Everlasting Fire. Wonderful disco/house feel to this song. Where have you been all my life, Melissa?

I Won't Fall Apart: One thing I've noticed with SCP is their ability to do great work with their lyrics (i.e. rapping with Viva La Noche, anything Pamsy) and this is no different. Getting past the generic synths and semi-drowned vocals, you get an almost emo song from this track. Maybe I like the lyrics because they've reminded me of past events...but still great song nevertheless.

All Is Magic: This is quite tricky why I like this song. Separate the melody and the vocals from each other--you get two great things, but I don't know how I feel about Manuel singing this song because his past work is pretty excellent (maybe not with Countdown to Destination, though). The melody and the vocals don't mesh, imo.

Rainbow: This sort of Saifam awesomeness takes me back to titles such as "Alamo", "Kiss Me Divine", and "Hey You Boy". If I just had to hear BBB songs done by male artists, I would be perfectly ok. I keep singing this song out loud while driving my car because it's soooo damn catchy. I love it, love it, and I love it!

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Post by Lebon14 » 09 Jun 2010, 21:52

Densetsu13 wrote:
Lebon14 wrote:*bangs his head on the desk*
I want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copyI want my copy

Did I say that I want my copy? Because I think I forgot to tell that I want my copy. So, I can review my copy that I don't have at the moment.
Fait tes commandes avec Amazon Japan. Ils sont ben plus vite que CDJapan. Je recois les nouveaux SEBs meme la journée avant la date officiel des fois! :P
Nah, je l'ai eu Lundi midi... en pansant au loup XD.
Nah, I got it Monday noon... thinking of the wold XD

My review tonight... posted on both here and EbZ.
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drnrg
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Post by drnrg » 09 Jun 2010, 21:53

the ditz
LMS have far fewer flashes of inspiration nowadays compared to the days of Super Euro Flash, so I can understand your disappointment in them nowadays. Perhaps it was just because the labels was fairly fresh on the scene back then and its style hadn't had all the years and years of samey releases to dilute the initial impact. Still, tracks like Shake Me Up, Turbo Night and Super Euro Flash still sound fresh and exciting today, so this may not be the case
I think it really depends on what style of songs the individual liked from that Euromach era to begin to know weather or not the new material clicks with you or not.u . For instance, I didn't really care that Super Euroflash song as much of some of you others did. I much rather went for the Bang Bang, Bang , Sucka A Bazooka, Black Magic, Maxi songs, which were heavy on Festari, Magnani and Rimonti vocals, but I could also go for thier aishu style like Harry Ken and Rick Castle which for me, is the reason, I really don't find the new material all that different from back then. All they really need for me to feel like if I'm back in that Euromach era, would be the return of Claudio.



On a different note; "Heat Me Up"! has become one of my top 3 tracks on SEB 204. The song really has that sound that has been missing from DELTA's productions for quite someTIME. Gabriele has jumped around from label to label throughout the years, but I really would like him to find a permanent home and I think; that at least for the TIME being , he would give a freash kickstart at DELTA. I'm really tireing of the same old intro in Capaldi's songs and "Cataclysm Night" had way more Bang Bang then the actual "Bang Bang" song . I also think he could add a new excitment as a vocalists to the label, cuz it seems DELTA is down to Luka, with the occasional drop by from Daniel....and the sound of Newfield, Moroni, Gabrieli has a nice ring to it as well.


Anyway, do you guys want the lyrics or do most of you own the cd allready. ? A few songs like ,Manuel have some ridiculously funny lyrics. :D

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Post by Jay » 10 Jun 2010, 00:13

I quite liked just about all of HRG's stuff back then. "Black Magic" is one of my all-time favourite eurobeat songs, but at the same time I also enjoyed the likes of "Super Euro Flash" and their wacky Russian-themed productions. I can't remember listening to much Rick Castle back then though, if any.

I can pinpoint many things I think are wrong with HRG these days, but I have to say their vocalists are one of the bigger problems for me, which you seem to be hinting at as well. That female vocalist HRG uses all the time (I forgot her name, is it Melody?) is arguably the most obnoxious vocalist in the entire genre at the moment. I don't think it's the vocalist who's the problem but the way that HRG distorts her. They really need to add another distinict female vocalist to their roster to freshen up their image - all the female vocalists HRG tends to employ sound far too similar.

I'm also liking "Heat Me Up" - it has grown on me a bit over the week.

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Post by Lebon14 » 10 Jun 2010, 01:53

Here it is... I won't go in details anymore since I sucked at describing that.

1. "I Won't Fall Apart" by Jager (SCP)
I somehow have difficulty with the intro and outro... kind of anti-climatic. Beside that, very good song. Catchy and has a lot of replay value. Good job Mike Snap ;)

Rating : 9½


2. "Forever Fly" by Stella (SCP)
Holy crap... that song reminds me soooooooooooo much to "Emotional Child" (was it? - can't check my collection... hard drive problem). At least, the beginning and the first riff. The song isn't bad but I feel that after the first synth hooks, the others are... out of place. Good song but doesn't feel like it'll be a big hit for me.

Rating : 7¾


3. "Face The Race" by Powerful T. (A-Beat-C)
Slow beginning and onward to a somewhat boring riff. There aren't anything worth mentionning here except maybe the bridge. Not an horrible track but doesn't get much attention from me...

Rating : 7¼


4. "Good Love & Mystery" by Lolita (Go Go's Music)
I never really liked Lolita. Never, really. Ya rly. The song is average. the only thumb up is the music. The vocals are... ugh. Out of place. Much.

Rating : 7½


5. "All Is Magic" by Manuel (Dima)
The intro is pretty good. The synth hook unhook me. The rest is pretty standard. Nothing is grabbing me. I know Dima is better than that and produce much better and much more exciting stuff for Manuel.

Rating : 7½


6. "Sandy" by "Mela" (Saifam/Asia)
Fuck. This isn't the Remix. Oh well. The remix is better in my opinion. There's something that is irritating me... I can't put my finger on it... Anyway, that is a good song none-the-less and I prefer the remix a bit more anyway.

Rating : 8½


7. "Rainbow" by Danny Rock (Saifam/Asia)
Oh man, that riff is so much out of place... beside that, the song is OK I guess... nothing too overwelming here.

Rating : 7½


8. "Squeeze Me" by Cindy (Hi-NRG Attack)
The intro is... annoying. The riff is pretty good for Hi-NRG Attack. The rest is rather... bad. Meh.

Rating : 5¾


9. "Bang Bang" by Paul Harris (Delta)
Overall a good song. Not much replay value though. I love the breakdown though!

Rating : 8


10. "Promised Discoland" by Melissa White (SCP)
Awesome. This is my kind of stuff! I really like the song in general and is a standout of the whole album!

Rating : 9¾


11. "Cataclysm Night" by Joe Banana (Hi-NRG Attack)
The intro is awesome. The riff is awkward. For the rest of the song, it's really huh... I mean, I'm kind of speechless how I can't get to be in the song and try to enjoy it...

Btw, I don't believe in that 2012 crap.

Rating : 5


12. "Heat Me Up" by M.O.V. Feat. Frankie (Delta)
Holy cow. This is damn good! The riff is simply INCREDIBLE with the soundworld around it. Oh man, defintely one of my fav. of the album!

Rating : 10


13. "Tora Tora Tora (2010 Year Of The Tiger Remix)" by Max
That is a very good remix. I like it quite a bit. @ end : EPIC mastering FAIL (30sec silence)

Rating : 9


14. "Don't Stop The Dance (Vintage 2001 Deluxe Remix)" by Ace
My first reaction was o_O. It's those songs I really dislike being on SEB. REALLY out of place. Go and play that on US radios instead. I can't get myself to listen to that kind of music.

Rating : 2

Overall...

Very very average album. Very few standouts, everything seem average at most except 4 songs. I regret my purchase a bit...

Top 3 :
"I Won't Fall Apart"
"Promised Discoland"
"Heat Me Up"

Honorable Mention :
"Tora Tora Tora (2010)"

Bottom 3 :
"Don't Stop The Dance (Vintage 2001)"
"Cataclysm Night"
"Squeeze Me"

Overall album rating : 7
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drnrg
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Post by drnrg » 10 Jun 2010, 02:08

Jay
I can pinpoint many things I think are wrong with HRG these days, but I have to say their vocalists are one of the bigger problems for me, which you seem to be hinting at as well. That female vocalist HRG uses all the time (I forgot her name, is it Melody?) is arguably the most obnoxious vocalist in the entire genre at the moment. I don't think it's the vocalist who's the problem but the way that HRG distorts her. They really need to add another distinict female vocalist to their roster to freshen up their image - all the female vocalists HRG tends to employ sound far too similar
That is by the way Melody Castellari whose vocals they hype in VKTIS, but she can also sound quite amazing like in Love Me On The Phone and Black Jack. In fact upon further investigation; I've come to realize that the songs that I'm really liking from HRG Attack at the moment, are not even Melody C., but female vocalists that HRG Attack seldom uses. "Runaway" from Karamel and Mara Nell's Crazy Disco Mania are both sung by Monica Fracchia. That one Dolly Pop song "There's Something In The Air" seems to be an unknown vocailst and "Bye Bye Portifino" could be Laura Tartuferi?

Nowadays, The label is actually using quite a bit of Elisabetta Gagliardi. She does vocals for "Squeeze Me" and "I Am Liar" and most of the Cindy songs nowadays, so HRG actually have a nice selection of female vocals to choose from. It's Avex who chooses almost all the Melody C. songs. And I wouldn't be surprised if they ask HRG to speed up her songs as well.

I'm not telling you to go and purchase everything on Juno to hear something a littler different from HRG, but it's interesting that most of these unreleased songs immediately clicked with me and I'm usually hard to please when it comes to female vocals, unless it's Elena Ferretti or Clara.


And LEBON, sorry to hear about your hard drive. man that sucks! I allways burn all my Eurobeat on cds. P.C.s are so unreliable now adays. Especially when 2012 comes around :D

Hopefully you fix that.

MAtRiCks
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Post by MAtRiCks » 10 Jun 2010, 03:02

Damn, that is Melody Castellary that HRG are completely Disgracing with their awful recent production quality?? That's a real shame, when we know what the lady is capable of (My Love Romance anyone?)

HRG's entries both sound horrible, as if they first printed the tracks on 12'', then took sand paper and rubbed it over the records before ripping them and sending them to Avex...

What Happened? Where their studios based in Haiti or what?

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