Super Eurobeat 221 (News in page 1!)

Everything that is eurobeat can be discussed here.
jeurobeat
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Post by jeurobeat » 02 Mar 2012, 20:47

Jay wrote:What I really love is how Avex refuses to disclose the "circumstances" behind the delay. That's another slap in the face to the fans who want to know what's been going on. Seriously, I've grown so tired with the way Avex have treated us over the past several years that I'm almost ready to call it quits on SEB and the genre all together.
This really made me laugh, although it seems that you are being serious here. Get real. Avex isn't some good personal friend of yours who did some disappointing things to you and is now treating you badly. Avex is a company that sells music. No obligations. They do not need to share their business decisions with you.
Jay wrote:The delay confirmed for me that eurobeat's future is uncertain, and I finally realised that the thousands of dollars I've invested into my collection is making absolutely no difference to the longevity of the genre. That was the sole motivator behind me purchasing SEB albums in the first place (as opposed to pirating them), as I know small genres like eurobeat need all the financial support they can get. If eurobeat's future is so bleak, why should I continue pumping more money into it?
The main reason would be: pay for the music you like. They sell music, you buy music. It's that simple. You don't buy options for future music. Only the music they sell at a certain moment is for sale.
I don't intend to be harsh, but please be a bit more realistic :)

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otter87
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Post by otter87 » 04 Mar 2012, 08:32

Eurobeat is dead, end of story. Releases since the SEB 180s have been terrible in mine and many others opinions that I've seen on here. The lack of consistency in releases and the inclusion of mindless remixes and the never-ending rehash nonstop mixes just shows the lack of interest.

It's only the fanboys who feel somehow included in the vitality of the genre by brown nosing the couple of Eurobeat figures who post here who are giving off this false hope of a thriving genre. Eurobeat is braindead at this point. It's time to just pull the plug. Forgive me for being cynical and blunt, but, quite honestly, the constantly positive and inherently unrealistic attitude that lives on this forum can be extremely disgusting at times.

As for supporting the genre by purchasing releases, I'll buy what I see as worthy of my earned money. But I won't blindly support something that shows that it doesn't even want to include me in the first place by making it expensive and inconvenient for me to purchase these uninspired, uncreative releases.

I understand that these companys and artists need to make money. But that very fact goes against the idea that many of you use that these artists care about the fans. They only care about them to the extent that it doesn't lose money for them. They may have a passion for music, but it isn't necessarily for Eurobeat. Just let it go. As Neil Young said, it's better to burn out than fade away.

Vadim
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Post by Vadim » 04 Mar 2012, 10:17

I wish some newbies would care to do a bit more research before posting, and actually try reading through our forum before making this sort of bullshit statements..

I will indicate a few counter-points so that is clear:

1- controversy intensified only after SEB 200 when producers tried some random and unsuccessful pop experiments.. SEB 180-s in fact got good reviews..also Eurobeat Survey shows that people who participated in it even preffer SEB 180-s traditional and agressive sound today.

2- This whole forum community is unique in functioning like an active consultant and research body upon which both Avex and italian teams can draw for objectivity about eurobeat releases. Eurobeat producers are respected and admired here for their unsurpassed mastery and creativity. In the same time we always tell them how to improve their products as opposed to *brown-nosing* you may find on contemporary music forums.

3- Eurobeat as a style survived well till today and even attacked Japan's charts for decades. This proves the vitality of the genre. Even many commercial dance techno styles never survived for this long.
It is clear that eurobeat can do a lot better if a record company gives more attention to international marketing of SEB project and creates traditional agressive eurobeat.

4-We are gratefull to Avex for keeping SEB running up to now and we have no reason not to think positive about SEB future.

Avex must know that both japanese and international fans wish for authentic SEB. They may enjoy some j-eurobeat release (Hatsune Miku cd e.t..) once in a while, but they still value regular releases of SEB.
Last edited by Vadim on 06 Mar 2012, 15:23, edited 3 times in total.

drnrg
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Post by drnrg » 04 Mar 2012, 11:40

GruzkyEurobeat is dead, end of story.

That right there, shows me how much you care about the genre.

3 posts and that is the uninspiring stuff you decide to share. You are wrong on all counts. Especially that crap about the artists not caring about the fans.

Like Vadim said, do some research before you post such vile untrue statements.

One thing is to crap on AVEX. Go ahead. I do it all the TIME, but take a chill pill before you acuse the artists of not caring.


Have you ever tried to add one of those artists to your facebook ,ect... friends and discuss something Eurobeat related. I doubt it? If you have, you would see that the artists, producers ect.. do care about thier fans. Some even get in trouble for caring too much.

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jp75
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Post by jp75 » 04 Mar 2012, 12:34

Gruzky, please show a bit more respect for the Eurobeat Artists.
They are the greatests musicials in the planet!!!!!!!!!!!!!!!
I'm eagerly waiting to see more news.

Megan188
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Post by Megan188 » 04 Mar 2012, 15:45

I mean, it is true that eurobeat really isn't profitable enough for producers to live off alone. I wouldn't go quite as far as to say that they hardly care about their fans and only care about making money, though. If that were the case, then they would hang up immediately and look for jobs in the labor force or something. The fact that most of them are still here making music and, in some cases, experimenting with new ideas shows that there's some kind of intrinsic motivation keeping them active. Of course, this is a very different story for Saifam, but unlike the other labels, they're a much larger company and therefore have much more of a dependency on the profitability of their music, so it makes sense that they've shifted their focus away from eurobeat and instead concentrated on their other sublabels, which are probably more successful at this point.

UFOPOLI
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Post by UFOPOLI » 06 Mar 2012, 09:52

Gruzky wrote:Releases since the SEB 180s have been terrible in mine and many others opinions that I've seen on here.
Really? :D Well, I, for one, have thoroughly listened to all SEBs, and the 180's are my favorite decade.
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otter87
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Post by otter87 » 10 Mar 2012, 23:45

Don't assume that a post-count or join date makes me oblivious. That's the type of close-minded attitude that a lot of you are trying to claim not to have. I've been on here since '05 along with other sites.

Why a few of you keep attacking my statement about the 180s is first off wrong. I never said the 180s were bad. I enjoyed them. I said releases since the 180s have been significantly sub-par. Yet, even if that had been my opinion, it really gives no less merit to my understand or opinion.

As well, my statement about artists not considering/caring about fans was misconstrued. I said that they need to make a living; they will care so long as Eurobeat can care for them. Do you think it is a coincidence that the quality of releases have diminished at the same time that Eurobeat's popularity with its main audience is diminishing? This is why artists have started releasing music independently on websites like Juno, Amazon and iTunes. In essence, they are going to care less about something which is going nowhere, at least currently, for them. And it will show, as it has, in effort and product.

Faarben
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Post by Faarben » 22 Mar 2012, 20:39

Still nothing confirmed informations about release data?

Lebon14
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Post by Lebon14 » 22 Mar 2012, 21:58

Faarben wrote:Still nothing confirmed informations about release data?
いいえ
(No)
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Lebon14
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Post by Lebon14 » 26 Mar 2012, 10:47

Btw guys...

http://www.youtube.com/watch?v=vXqiNCXXEKc

Maybe this is a sign that SEB 221 is near?
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Faarben
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Post by Faarben » 26 Mar 2012, 16:15

Lebon14 wrote:Btw guys...

http://www.youtube.com/watch?v=vXqiNCXXEKc

Maybe this is a sign that SEB 221 is near?
I hope that is good sign for us,
but i'm afraid that's end of my fav label Time/Eurogrooves... Last time they did only "healing" remixes, nothing new songs... too bad.

Vadim
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Post by Vadim » 27 Mar 2012, 01:01

..new SCP tunes sound good..

zoupzuop2
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Post by zoupzuop2 » 27 Mar 2012, 03:25

Vadim,

First, let me say I agree with you for the most part. International releases, being thankful that avex hasn't exactly chopped it off and thrown it away, etc... we are absolutely eye to eye in the same boat, on those points.

But I want to be sure that when you refer to Eurobeat labels making Traditional, Aggressive Eurobeat, you aren't suggesting that it's ALL that they make, or that other varieties would be discouraged. I love me some aggressive Eurobeat, no questions, no doubts. It got most of us into the genre. But there's also a great deal of value in the non-traditional Eurobeat, in passive Eurobeat, in areas that bust out of the formula.

If we didn't have acts like Norma Sheffield (very seldom aggressive), Pamsy (trancy and thus not exactly traditional), Rick Castle (hardly ever aggressive), post-ABeatC Dave Rodgers (bending the rules with intros and production/EQ styles), or, hell, the methods of early Time/Eurogrooves (mixing House/Techno elements into Eurobeat), we'd be a genre deprived of a large amount of what has made it so great. There are zillions of other examples, but I believe those are sufficient to prove the point.

We trust our producers/writers/composers/vocalists to be creative in their own right; if they're not allowed to break conventions/traditions every once in a while and release something that puts expression ahead of tradition or aggression, we'd lose a lot of potential masterpieces or a lot of unexpected hits. And, yeah, there have been songs we didn't like (even nearly-objective failures like "I'm Superstar"), but that's going to happen, and the genre grows stronger for seeing what works and what doesn't. Sometimes it needs to make a mistake in order to grow, and if given the room to make such mistakes, our embattled genre will be all the better for it.

Yes. Let there be aggressive, traditional Eurobeat. But let it not be at the cost of innovation, expansion, even experimentation. If anything has made this genre great (if existant as a separate entity from Italo Disco in the first place), it's been precisely those. Add this to our agreed-upon International Promotion and others, and I think we'll see our genre thriving again.
May I never let my passion obstruct my respect for others again.

drnrg
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Post by drnrg » 27 Mar 2012, 04:26

Experimenting is o.k. on any level. Sure try new things. Just as long as Eurobeat does not start sounding like that cookie cutter dance pop/Dub Step/Electro Hop or whatever you wanna call it that LMFAO,David Guetta and all those other top 40 artists are making these days.

zoupzuop2
If we didn't have acts like Norma Sheffield (very seldom aggressive), Pamsy (trancy and thus not exactly traditional), Rick Castle (hardly ever aggressive), post-ABeatC Dave Rodgers (bending the rules with intros and production/EQ styles), or, hell, the methods of early Time/Eurogrooves (mixing House/Techno elements into Eurobeat), we'd be a genre deprived of a large amount of what has made it so great. There are zillions of other examples, but I believe those are sufficient to prove the point
BTW, All those examples are great. I'll take some Transy Pamsy over the abomination of noise called LMFAO any day. :wink:

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