Eurobeat Prime :: Forum

Hey guys,

For school I'm writing a communication/marketingplan to bring Eurobeat to Europe and the States.

I'm going to develop a proper concept for Super Eurobeat along with a strategy to make it a commercial genre and have it sold in Europe and The US. Of course it's all fictive, however I might submit it to Avex if I think it's good enough

Should you have any good ideas, let me know. For now I'm wondering: if you'd have to let a random person listen to a Eurobeat song, which one would it be. And why? Which one has the highest chance of being liked?

The name of the concept is going to be: Spread The Beat and is presented as follows:

Wasn't there another topic with this question a while (few years) ago? I remember that Dark Angels song being named a lot.

Space Boy is a pretty safe bet but some people might have a negative reaction because of how upbeat it is (I remember that being the case when I first heard it)

So I'd go with Night of Fire as it's really memorable and easy to get into, especially if you're into a bit more aggressive stuff.

You could go with something like Ace / Wait For You (Dancefloor Night Mix) or Cherry / Yes I Will, since they have more commercial-friendly melodies and themes. But ultimately, it would be difficult to get pure Eurobeat into a commercial since it will always be associated with DDR/ParaPara/anime and the majority of people are sadly closed-minded when it comes to trying something new or listening to things "out with the norm".

Good look though - you have my support 100%. The songs that I'm writing for TheParadiseLast (Shinraikan's independent label) are more influenced by commercial themes, so maybe people can be encouraged to get involved with the independent labels as it might be a less scary prospect with slightly more variety and choice than avex puts out

-redacted-

eXtaticus wrote:The one I always use is New Horizon by Ken Blast, and the reasons for that are:

> Meaningful, coherent lyrics with no Engrish
> Singer has an accent that most English-speakers will be able to understand perfectly
> Emotive yet energetic minor-key melody
> Very reminiscent of already-successful electronic artists of a similar style; the point of reference that I use is usually something like Basshunter or DJ Sammy.

I understand your point of view but most eurobeat songs makes no sense at all. So, if you introduce somebody with a song that actually make sense, then, if they are interressed, they'll start looking into other songs and they will discover the hard truth of Eurobeat: nonsense-ness. And, it'll probably discourage them into discovering the genre. However, if you start by telling them to NOT take the lyrics into account. I mean try to not care bout them, because it doesn't make sense, then later, they won't be getting the bad surprise.

People into rock might like the "Eurock" tracks such as "Speed Of Light" by The Snake, "Blackout" by Nine9nine, etc. We got some covers too... "It's My Life" by Niko (Bon Jovi), "Enter Sandman" by Spock (Metallica), "Another One Bites The Dust" by T.I.M.E (Queen). Those can show some aspect of Eurobeat.

Top40-wise, "Because Of You" and "What D'You Want From Me" both by Jager is pretty standard sounding. "Wait For You" by Ace too. I'd like to recommand "Emotions" by Stephy Martini for the romantic style.

Songs I would like to personally recommand...

"Rocketman" by Mega NRG Man
"It's Like A Fire" by Kaioh
"One Touch" by Ace Feat. LaGatta
"Black U.F.O" by Lupin
"Stop To Give Up" by Eurofunk
"Bazooka Pistolero" by Franz Tonado
"Magical" by Matt Land
"Burning Up The Night (Total Fire)" by 2 Fast
"Night Of Fire" by Niko (of course!)
"Heart Attack" by Lolita (or "Everybody Dance")
"Save A Prayer" by David Dima

etc

I'm all for this as long as AVEX does not let the U.S. have any say on what Eurobeat should sound like or any production rights in the studio. I don't want my beloved genre altered to fit the U.S. standards of EDM.

If they can get the U.S. music industry's ego to accept that Eurobeat music as is; then yeah, bring it on.

drnrg wrote:I'm all for this as long as AVEX does not let the U.S. have any say on what Eurobeat should sound like or any production rights in the studio. I don't want my beloved genre altered to fit the U.S. standards of EDM.

If they can get the U.S. music industry's ego to accept that Eurobeat music as is; then yeah, bring it on.

http://www.melonbooks.com/index.php?mai ... 0000162420
http://www.youtube.com/watch?v=SdEsBaAYq9w

Looks like Japan's already doing the work for you, and on the indie level to boot! But I guess they're not from America, so that makes everything okie-dokie~!
–––––––––––––––––––––
Meanwhile, to say something constructive and encouraging instead...

A great deal of popular music here is already in the right bpm range for Eurobeat, so what I recommend is gathering selections of songs from popular artists— specifically, big "names" to which these could-be-fans can be attached. Dave Rodgers, Cherry, Niko, Dejo, Ace, Fastway (careful with this one!), Go2 (even better!), Kaioh, what have you... you can think of a few! It's easier to find songs by the artists you love when they're all under names you can recognize and flock to!

Better yet, one could analyze the UKF releases on iTunes— single-to-multi-genre, multi-label, multi-artist (most going under pseudonyms) compilations that are released periodically— and see what's working for that. In this case, it further demonstrates my point that it's okay to introduce new names, but in the end fans will need some "big names" as a springboard, people with which they'll associate the genre, and reach for their tracks (at least before they start diving in deeper).

zoupzuop2 wrote: http://www.melonbooks.com/index.php?mai ... 0000162420


Looks like Japan's already doing the work for you, and on the indie level to boot! But I guess they're not from America, so that makes everything okie-dokie~!

I don't think he has a problem with America specifically, he just doesn't want eurobeat to sound like America's current style of electro-housey pop. I'd rather not have that either, but if it happens, it happens.

If Japan didn't influence eurobeat in the early days it would probably still sound exactly like italo disco.

Mindsweeper wrote:

zoupzuop2 wrote: http://www.melonbooks.com/index.php?mai ... 0000162420


Looks like Japan's already doing the work for you, and on the indie level to boot! But I guess they're not from America, so that makes everything okie-dokie~!

I don't think he has a problem with America specifically, he just doesn't want eurobeat to sound like America's current style of electro-housey pop. I'd rather not have that either, but if it happens, it happens.

If Japan didn't influence eurobeat in the early days it would probably still sound exactly like italo disco.

Lemme know if he ever shits on an entire country's taste in dance music that isn't America. I wait patiently.

BTW, most forms of EDM, in fact a vast majority of its big players, are European or otherwise not American— Madeon (house) is French, Deadmau5 (house) is Canadian, Benga & Skream (the founders of dubstep) and Feed Me (dubstep and electro) are from the UK, Zedd (pop/house) is German, Arty (trance) is from Russia, Knife Party is from... well, they're from Australia but that's not quite America, Zomboy (dubstep/electro) is from the UK... never mind that, it's America we need to worry about~

Back on topic, any word on your existing plans, DarkSky?

zoupzuop2 wrote:

Mindsweeper wrote:

zoupzuop2 wrote: http://www.melonbooks.com/index.php?mai ... 0000162420


Looks like Japan's already doing the work for you, and on the indie level to boot! But I guess they're not from America, so that makes everything okie-dokie~!

I don't think he has a problem with America specifically, he just doesn't want eurobeat to sound like America's current style of electro-housey pop. I'd rather not have that either, but if it happens, it happens.

If Japan didn't influence eurobeat in the early days it would probably still sound exactly like italo disco.

Lemme know if he ever shits on an entire country's taste in dance music that isn't America. I wait patiently.

BTW, most forms of EDM, in fact a vast majority of its big players, are European or otherwise not American— Madeon (house) is French, Deadmau5 (house) is Canadian, Benga & Skream (the founders of dubstep) and Feed Me (dubstep and electro) are from the UK, Zedd (pop/house) is German, Arty (trance) is from Russia, Knife Party is from... well, they're from Australia but that's not quite America, Zomboy (dubstep/electro) is from the UK... never mind that, it's America we need to worry about~

Travis I just about brolove you for that post.

zoupzuop2

Lemme know if he ever shits on an entire country's taste in dance music that isn't America. I wait patiently.

Once again; you got it wrong.

America did some awesome Dance music in 70's and 80's. High Energy, Maimi Frestyle, Disco. I will never forget, Stevie B, Chapter One, Stacy Q, Bobby Orlando, Lime, the list goes on and on.

zoupzuop2

BTW, most forms of EDM, in fact a vast majority of its big players, are European or otherwise not American— Madeon (house) is French, Deadmau5 (house) is Canadian, Benga & Skream (the founders of dubstep) and Feed Me (dubstep and electro) are from the UK, Zedd (pop/house) is German, Arty (trance) is from Russia, Knife Party is from... well, they're from Australia but that's not quite America, Zomboy (dubstep/electro) is from the UK... never mind that, it's America we need to worry about~

Once again it's not those that offend my ears so.

For the last TIME, what I dispise is the Urban hip hop EDM. I'm sure it's different from all those artists you seem to throw at me to make your point. I don't want Eurobeat to start sounding like Flo- Rida, LMFAO, Chris Brown. I don't want it to fave a feat. on the side lable with some ear wrecking rapping by Wiz Kalifa. Most of those Artists are of American decent. Therefore ,the word American pops up in my post. I'm not gonna say French, nor Swedish, because they are ; as far as I know, of American decent.

and I hate to break it to you, but in the past; for whatever reason the U.S. Music Industry has succeeded in burning out every genre that comes thier way. Disco, New Wave, High Energy, Rock. Look at past History and you see it's true. Every genre happens to be at thier PEAK in the U.S. I won't deny that at all, but also every genre seems to crash and become a parody or joke under thier production as well...and it's almost always when they try to alter the sound of said genre of music or make it just for $$$. That when every song sounds the same. Do you want that? I think not?

So next TIME, I mention any negativeaty about U.S. Music Productions; take into account, I'm speaking of the Urban Hip Hop EDM songs, Which all sound the same. Chris Brown, Flo-Rida, LMAFO ect.. I'm pretty sure those artists are not on the top of your list.


and I'm sorry, but I'm tired of repeating myself.

I feel strongly that any country should welcome and accept Eurobeat the way it is and not to stick in thier own artists in order to sell it. If they can't abide by that SIMPLE request, then they don't deserve Eurobeat. I can think of tons of examples where they alter music just for the sell out factor. Olly Murs- Trouble Maker is one. It has a sort of Maroon 5 vibe, not a bad song, but totally ruined by Flo-Rida. I bet you didn't know thier is an original version without the rapping that showcases a lot more of Olly, but the U.S. Music Industry only gives air to the Flo- Rida version. Same with Maroon 5 - Payphone. Great song, but once again rapping shoved in there just to make double the money. The song would be popular enough with Adam Levine's vocals, but no, they want Wiz Kalifa. This is a perfect example of how U.S. Music Industry squeezes every last drop of money out of a song. They didn't used to be as greedy back in the day. and the music was so much better. More Heart and soul. Now it's all one big commercial to sell.

When I think about Eurobeat hitting the states. It frightens me to think what could become of it.


Mindsweeper

I don't think he has a problem with America specifically, he just doesn't want eurobeat to sound like America's current style of electro-housey pop. I'd rather not have that either, but if it happens, it happens.

Finally somebody understands what I mean.

-redacted-

eXtaticus wrote:In any case, it's not the music that needs manufacturing; the music is fine as it is. Eurobeat can be successful in its current state - but the artists need to be manufactured; for example, turn Kaioh and Leo River into youthful pretty-boys. Stick their faces on pin-ups and have teenage girls fawn and obsess over them. Make Clara Moroni and Domino appeal to the lonely, dissatisfied middle-aged men. Manufacture distinctive "images" and "personas" for these artists, and make the audience feel as though they share some sort of voyeuristic personal relationship with them.

Wouldn't that just bring in people that care more about the image of the artists than the music? I for one would never ever want those kind of fans brought in. It'd be great if eurobeat sold more, but the community and fanbase is pretty solid already. Since eurobeat isn't the easiest genre to get into - you have to do some research for yourself and hunt down the music on various websites, the fans that stick with it and put in effort to collect eurobeat and get into the community are the more passionate and dedicated ones. That's one part of eurobeat that I like, it's built a great community because of its obscurity.

I really hope that didn't sound elitist

eXtaticus wrote:Because of You by Jager (it's about as close to generic top-40 as eurobeat gets) - or anything of a similar ilk.

I wouldn't recommend this song, particularly because it's a blatant knockoff of Adam Lambert's already famous If I Had You, and most people would probably treat it as an inferior copy of such. I Won't Fall Apart is a significantly better bet. Otherwise, you seem to pretty much nail my thoughts about the wisest process to go about to promote eurobeat.

Like the_ditz stated earlier, most people who know about eurobeat associate it with Japanese dance and anime. However, I still believe the genre is underground enough that it could mostly avoid those connotations to an average consumer. I think eurobeat stands a much better chance in an American market today than it would have in 2005, for example, because dance/electronica has made huge inroads in mainstream pop. Still, I do agree that only the most commercialized, least Engrishy tracks have any possibility of attaining greater popularity. SCP and mid-late 2000's Delta (back when they had several different writers and producers at once) are the best bets, in my opinion, although the former is unfortunately heavily recognizable in Initial D.

As I sort of suggested earlier, I would recommend against covers of any kind. Forcing vocalists with heavy Italian accents into the same category as superstar artists from the states or the isles is likely to lead to a bunch of ill-fated comparisons. As brilliant as Ace's version of Wait For You is, one person I introduced it to, who listens primarily to mainstream pop (the_ditz might have a vague clue of who I'm talking about - I made a StepMania simfile to the song during his simming hiatus in 2009), complained that Codenotti's vocals "butchered" the original by Elliot Yamin. Futureland would be a much wiser choice, in my opinion; it's by far my mom's favorite track from SEB 175, often considered one of the best installments in the series from the modern era, and it's not too hard to see why. It brings a fresh sound to the table without overstepping its eccentric boundaries.

Stay away from Time/Eurogrooves, Hi-NRG Attack, and Dima at all costs. As much as I enjoy them as a hardcore fan of eurobeat, all three of them stray very far from what is probably the comfortable norm of average listeners, and their particularly repetitive, Engrishly lyrics certainly don't aide matters, either. David Dima already gained notoriety for his Hot Limit cover, which became an internet meme over a decade ago and pretty much defined the term 'Engrish' in the first place. Time/Eurogrooves and HRG wouldn't be taken a whole lot more seriously. The words 'passion,' 'fire,' 'hot,' 'love,' 'desire,' 'tundar,' and 'emotion' probably comprise of at least half the vocabulary in an average Time/Eurogrooves production, so they'd likely turn into the same laughing stock as Dima with Hot Limit. HRG's constant references to bazookas and cows would probably leave audiences just as confused; Rimonti, Festari, and Gagliardi's particularly thick accents only add to the label's bizarre sound.

Here is a list of songs that I personally would suggest:

+ Futureland / Ace (even though it was in Initial D)
+ I Won't Fall Apart / Jager
+ Walkin' in the Shadow / Pamsy
+ From Heartache to Heaven / Momo (this is a much better choice than One Touch in my opinion; most people would probably find that track a little hokey, to be honest)
+ So Fragile / Pamsy
+ Born To Love You / Kochiss
+ Queen of Mean / The Snake
+ I Wanna Run To You / Mickey B.
+ Power of My Love / Yo Shine
+ My Stars / Kimmy (though this seems like something that would be much more popular in Europe than in America)