Super Eurobeat 226

[Lebon14]

@Everyone

In other words we all miss

TIME/EUROGROOVES

Yes, indeed.
However, I've lost faith in new songs at this point.

Maybe switch between A-Beat-C drawer material to Time related material?

[Wataru Akiyama]

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.

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.

down with supersaws, long live super brass!

Agree.

Also, I miss the days when Eurobeat had a mild J-pop influence. You know of the tracks of which I speak - the ones that got such heavy rotation at VELFARRE/TWIN STAR that J-pop artists like MAX and Folder 5 actually _did_ end up covering them.

SEB 150's second disk is like a love song from Japan to all of these tracks.

[KiraTM]

My copy has been shipped some hours ago, now let's wait until 30th November...

[the_ditz]

My favourite "Eurobeat sound" came around the 150's-160's. SCP have that chunky, earthy sound to their productions, Saifam/Asia was unstoppable, A-Beat C still rocked with rich synths and sharp percussion, and Hi-NRG Attack still used that brass hit synth for their hooks. I just adored those decades... guess it's no coincidence that I started following the series at SEB 156, but I honestly think since SEB 170, small changes have crept in that have resulted in a gradual decrease in quality on the whole (granted, other changes such as GGM & Dima's introduction freshened things up again, but as a whole, I feel a deep longing to go back around 8 or 9(?) years )

[#Infinity]

The peak of eurobeat varies heavily depending on the label for me. Though Time (including songs produced by Dima), Hi-NRG Attack, A-Beat C, Sinclaire, and SCP reigned supreme in the late 1990's, Saifam didn't hit its golden streak until the early 2000's. By then, Sinclaire and especially Time took pretty notable tumbles in overall quality, although the rest of the aforementioned labels adapted well to the new millennium. The 150's and 160's are mostly pretty strong, as the_ditz said, but it was still an overall hit-or-miss period for Newfield and Sinclaire, and Time and Hi-NRG Attack fell pretty short during the 160's (in the latter case, not counting songs that were already a few years old at the time of release, like Super Kaiser and Bazookistan). The tables shifted again during the 170's, during which Delta, Time, and GGM made leaps on the series' quality, but Saifam (still producing music during their hiatus from SEB) and A-Beat C lost their previous momentum. Nowadays, the only two real contenders, in my opinion, are Delta and SCP. Occasionally, the other labels will release something surprisingly good, but for the most part, none of them are at their best.

[the_ditz]

When I talk about the SEB decades, I take all songs featured on that "decade" to form part of the overall fabric of it, regardless of the year a song might have been produced. Might seem strange to most, but it's how I label and store the releases in my brain, hence my great love for the 150s and 160s since every single label released at least one song that I'd consider a classic.

It's not that I don't like the older releases, but for me, the sounds of Eurobeat had evolved to the perfect happy medium during those two decades.

[para_rigby]

I too love the 150s and 160s. I really started getting into eurobeat at that point so I have the most love for those two decades. I agree that each label at that time had some great hits. I felt it was an especially strong time for Delta, in particular.

Some of my favorites from that era are:

Delta: Chemical Love, Pilot Is The Hero, Victim, My Emotions
A-Beat C: My Heart Burns Like A Fire, Big Boy, Viva The Night
Time: Pride, Shock, Love Is Danger 2005, Drive In The Night
Vibration: Lollipop Banana, Million Dollars, Beautiful Day
Saifam: Chilly Boy, Like A Fire, Little Don, A Love At First Sight
SCP: Super Striker, Roly Poly Rock, 2 Love 4 Love, My Wish
Hi-NRG Attack: Bugabuga Chew Chew, Pun Pun Beam, Super Kaiser

I am particulary dismayed by the lack of strength in creativity in recent works by Delta and Dima. Guess the only Delta productions I really liked post-Newfield have been "Dreamers" and "Go Shinkansen!". I feel that the synth sounds feel tired. Dima's entries don't excite me like they used to (I loved earlier entries like "Labyrinth of Love", "1 Week", "Fever of Love", but David's solo entries and Stefy's most recent songs sound so immensely boring and uninspiried...remember how kick ass she was on Akyr and Delta?!).

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!).

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 can think of a handful of tracks from their last few years on SEB that were truly great (yes, the Annie tracks are awesome!). Maybe I just never liked the soundworlds from the label.

[Bonkers]

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?

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.

[Jay]

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!).

I always laugh when people say SCP is the most cutting-edge label in the genre but fail to give details as to why.

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.

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.

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.

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. 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.

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.

[Mindsweeper]

[zoupzuop2]

I always laugh when people say SCP is the most cutting-edge label in the genre but fail to give details as to why.

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.

They've had some snore-fests, no doubts there, but SCP excels not through blunt and obvious changes, but in subtle differences. Confessedly some of these details ARE hard to verify objectively, but this does not mean the difference is absent.

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.

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.

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.

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.

As for Sun Fire, they're EXTREMELY experimental in some ways, including what shouldn't be so freely adjusted such as mixing, tempo, and rewriting "Dance in my Town" a zillion times in a row. They're not bad at all, per se, but I do believe Rodgers' wild artistry was VERY well tempered and tamed by Oliva's consistent production. Without, it can run a little TOO wild for my tastes. If we get another "I'm Superstar" I might just vomit.

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.

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.)
I actually find myself being quite charmed by Sinclaire's productions lately— yes, Sinclaire's sound hasn't changed much since his departure from Delta, but... I actually rather like that, it's a beckoning to times gone by I can appreciate (though I do hope we can soon save his ladies from that damned wind tunnel he keeps recording them in).

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.

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???

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 re-allowed Eurobeat on iTunes (out of date releases, but nevertheless present), the problem is marketing (in that it is literally nonexistent). If they even TRIED to lift a finger to let people know it was available in their country, I could see a small, possibly even temporary change of tides. My experience with pushing the genre (REGARDLESS of third-party themes or content in the works) have done pretty well, and the style itself, even in its older "flavors", does quite well and the sound isn't necessarily the problem. It's just making it known that it is what they think it is, it is available, and it is easy to get.

As for publishing rights, I do understand there are things in the way. Though I'm VERY sure this is easier said than done, I could see this going well if Avex made a sort of non-exclusive contract with the labels to release (AND MARKET) volumes of Super Eurobeat in other countries. Make something work for both parties as best as possible and I could see the tides changing.

I've brought up marketing twice, and I do think that even if Avex DOES finally do some legwork on the matter, it'll take as many of us as we can doing as much as we can to spread the word— not just to other Eurobeat lovers, but to EVERY venue to which we have access. A company only has so much power, even with a good ad campaign. It takes PEOPLE to make something take off (or "go viral", though that seems to have a smaller context than might be needed), and I know the Eurobeat community has that.

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.

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.

As well, it seems you have no interest in the independent community, in which there are still pockets of new and unique things bubbling up. At least consider swinging by our end of the neighborhood before you go, and know we'll be here if you want to come back.

[drnrg]

It's interestring to read everyones idea of Eurobeat peak.

I'll just say that I enjoy Eurobeat in every decade. Every label gets thier chance to shine in the sun. Right now

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.


DELTA are up and down. Surviving without Newfield has been harder than they expected and they need more vocalists in thier stable.


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 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.

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.


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'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.

[zoupzuop2]

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.

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.

DELTA are up and down. Surviving without Newfield has been harder than they expected and they need more vocalists in their stable.

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?

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.

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.

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 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.

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 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!

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've said my peace on Dima, so... I just hope they can get some new creative sparks soon.

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.

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!

[Darkholme]

I haven't been following SEB for that long (got into it just as 218 got released and my first purchase was 221) so I don't really have anything to compare to, but right now I'm most excited for SS. Every time I've talked to them on facebook they've been super kind, even going as far as sending me a CD.

But that's only their customer relations side, I always find myself loving their tracks the most out of all the other songs on any given recent SEB (with a few exceptions). Prayer is easily my song of the year and a real masterpiece IMO, and Xmas Love sounds like a great finish to the new SEB year.

DON'T MISS IT!!!

[synthjunkie]

previews up on amazon.co.jp:

http://www.amazon.co.jp/%E3%82%B9%E3%83 ... B00F34CD8U

they are extremely short though...i can't find the previews on itunes yet, but they should be coming in soon.