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I can provide video proof that Mauro is the vocalist behind So Long. I can't find the other vid on hand, but it also shows him doing Keep On Music.

Unless you can drum up the real vocalist, I call bullshit on your claim.

That's Farina through and through!

Indeed, Crockett was saying the contrary~

Radiorama was invented by Aldo Martinelli on Mauro Farina request. Project started before anybody thought, that since 1987 Italo Disco will be faster and will come a new Eurobeat trend. With his collaborator Simona Zanini wrote first single "Chance To Desire". But due to the fact, that he was involved in the production many other projects, his name wasn't to be listed on the cover. Mauro Farina did otherwise, just broke a verbal agreement. Because of this, Martinelli withdraw from the further composing. Mauro Farina then longer continued to work on next songs.

https://www.youtube.com/watch?v=B3GOje-9JXQ

Here's a another song, where you can clearly recognize "Chance To Desire" vocalist.

Radiorama since the single "Desire" sounds like common at that time Time Records style, which was similar for many artists focused around this label. Then you could hear Mauro Farina and Clara Moroni.

Of course I don't deny about Mark Farina or Danny Keith voice, it's obvious.

Confusion came up because of the way you phrased your earlier post. As Xiao said, it appeared that you said only the Radiorama track was Mauro when it was the other way around.

Really love eurobeat in general but Im on the same page as OP,

but music is just the same as our human progression my friends. Things constantly are moving and evolving~

Ditto Magic~man!

Whenever I'm overwhelmed by the sheer number of styles and my ineptitude to adapt to the ever changing trends... I just forget about genres and listen to what sounds good, even if it's a grainiy 90's synth-pop cassette in my uncle's Nova. xD

Music's just oscillating waves within the electromagnetic spectrum~ ♪

I feel, that much influence on the changes had artists private preferences as well. Look at style of Mauro Farina first, his music was easy assimilable, quite neutral.

Dave Rodgers likes rock and from 2000 hired some power metal vocalists, but never resigned and always produced just clear dance music. Already in 90s A.Beat-C. was describing as having melodic synth parts and pumping bassline, thanks to you can feel happy and cheerful, no matter how many BPM. Even Alberto Contini comes from and now still is a member of metal band Bulldozer, however he composed not much aggressive Eurobeat, could separate this and another genre.

In turn Bratt Sinclaire, personally I'm not sure why and actually among which fans, became a new king of genre nowadays, even for some fans since Delta founding, or called as the most interesting songwriter in A.Beat-C.

And what I want to tell, he has similar like Alberto Contini, typically rock/metal past, beginning and so fast started to express that in Eurobeat. Now next, who does it, is Manuel. Can get an impression, that what was left of Eurobeat is now a place to experiments of artists, which also have rock/metal souls and they present it under the name of Eurobeat.

This music has today fans in USA, where the disco music wasn't never popular in the ages of gold Eurobeat, in Japan whereas rock/metal what I know is very popular. So I came to the conclusion, that the artists like Bratt Sinclaire gained now again some popularity with this style because of the extremely connections with heavy sounds.

Well, I'm skeptical as to many details. I wonder, whether this way the genre still called today Eurobeat and represented by some old best, but parallel always loved hard sounds artists, has a chance to be observed once more somewhere else except Japan or among single fans, just like any news.

I think Bratt is popular nowadays for a number of reasons:

- He started his private label with a bang. ie. more publicity than your average eurobeat label.
- He created Hyper Techno.
- He connects with his fans.
- He is a guitar hero GOD!
- SinclaireStyle Ads VOICE!!

Manuel's style is very interesting; he mixes very metal vocals with dance beats, and it works for him like a charm~
Also, he's got an upcoming track w/ Cristian & Stefano in the works!

I'm absolutely delighted by the progression of eurobeat to be honest~

On the Eastern front you have DJ Command & FN2 with their heavenly arranges. Plus Rute & Aki with their star☆fire voices~ <3

On the Western front you have synthmaster Travis Odyssey with his genius compositions & mind-blowing harmonies! Then you have Nick, Idris, and Zyrion from The Paradise Last indie-label rising to the sky like a shooting flare~ god I love them! Then there's d.notive with his completely amazing throwback italo disco style. Also Equinox, a newcomer who's red on the heels of DJ Command, interlacing a broad range of genres into the new eurobeat sound that'll eventually burst it's way into Avex. And lastly SEB 237 is coming up around Valentine's Day, hopefully with Mauro's new song included~

Eurobeat's gotten a second third fourth fifth sixth wind, and I bloody love it! ♫

This post has been edited by xiao on Jan 19 2016, 09:17 AM

Could you tell me what means "private label"? And what means "more publicity than your average eurobeat label" ?

Eurobeat or kind of music called Eurobeat is so old, that interpretations of dance music, which is (was?) really european, advantages, qualities, details of sound and limits just disappeared for some of fans like me, but became normal, ordinary for next generation.

I have personally some own criteria, I talked with experienced persons, producers of faster but the old type of dance music, which liked Eurobeat and can rate its technical value today. The conclusion is that the technical level is still good, but for listening some part of creation the current artists isn't possible.

Because how to encouage someone, who doesn't like rock, metal, or no limited wildness, if you will introduce a song terrible fast, with vocals like Manuel, from totally not dancing genre, being in practise a background for ParaPara? Esthetics of the voice and melody, which you could easy sing and save in your mind for a long time, today arouses very strange feelings, if you really remember and felt former "Made In Italy" style. Simply, some like me think it's "Made in Italy" yet, or "Made for Japan", the second biggest music market, but incomprehensible in the rest of the world? And we regret, that such changes because of japanese needs sometimes are even unpleasant while listening and not acceptable.

About the mentioned artists, each of them gained something, but on a different scale. The achievements in 80s, 90s, basic achievements for all musicians, which actually aren't participation of most Eurobeat artists, in my opinion divide this genre at many levels, for these, where we like "stars" and beauty of synth composing and these, where win multiplicity of technical effects and BPM.

Indeed, the style today is definitely very different than what you hear in, say for example, the early SEB's before the hundreds. Or Italo Disco, which where most of the old guard came from. But I think that was an equipment limitation... artists 10 years ago didn't have the hard/software to discover the sounds of today.

I think people generally gravitate to good music, regardless of genre. My father was hearing some of my old SEB's, and he was like... 'Umm, this is basically Pop' Which is technically uninformed, but goes to show ya why people aren't really adamant about music categories so long as the song's good.

The cool thing about evolution is that it's backwards compatible; ie. you can basically produce the same Michael Jackson beat via emulation if not a downright brilliant update cover. But the past is seldom forwards compatible, given time-machines don't exist yet.

Some people like dancing to the more bubbly taste of mainstream eurobeat, if such a thing exists? Others like dancing to Rimonti's medically insane lyrics. And others prefer the tokusatsu stylized moves of hyper techno~ ♪

> Private Label
His own studio.

> More publicity
Radio shows, internet, etc.

The possibilites are now unlimited, but it's a shocked change. The artists always and everywhere worked at real studios, on many separate devices being an huge equipment, costed hundreds of thousands dollars. That was a thing, another symbol of music ! Now you or me, we can download a software, included these all in one, on private computer, on a screen for free. We can buy for addition small console, when we want to be more professional.


So which Italo - Eurobeat label or producers haven't the own studio? I don't really know what is going on with current Delta or Hi-NRG Attack places, are they or the staffs work at home as well? Go Go's Music rents SCP supposedly really nice big studio, so the next label has it, even little Dima Music isn't worse, he has too. SinclaireStyle has, skipping Sun Fire, which is obvious, we know. In the past, the big record companies and young artists had professional buildings used as studios, which survived until today or became bigger.

About publicity, I think at this moment it's totally closed subject. Hundreds of likes on Facebook don't create a real popularity and kind of life for Eurobeat. These fan pages are dead or wake up like SEB, once per 2 - 4 months. Former fans miss for such things from past, when without internet and except CDs and vinyls, the promotion and alive world of Eurobeat just overwhelm its richness. Radio was absolutely basic case, not only for advertisements.

I always thought SCP was Stefano's home, no? xD

GoGo's renting SCP... that explains what Manuel's doing at ReB~

Yeah, most people can afford equipment nowadays. But a thing you can't buy are skills. You'd have to develop them. Many self-titled producers totally lack skills nowadays.
The whole development has gone in a totally wrong direction. But it's not the fault of the equipment. Back in the 80s a musician could send a not-good-sounding demo to a record company and their judgement was based on the music (and maybe also the performance and look). If a record company thought it was interesting, they paid for the studio and marketing.
Nowadays it's quite the opposite, a record company only works with musicians who are already successful at marketing by themselves and provide perfect sound already, which means only privileged musicians have a chance. It's not important how good the music is, it's important how good they sell themselves.
In Eurobeat it may be a little bit different but I don't know anybody who can make a living from Eurobeat nowadays.

None of the Eurobeat producers are businessmen. And Facebook isn't a good marketing platform for people who don't have lots of fans already. And by lots of, I mean something beginning at 100.000 and not at 500. The algorithms of Facebook are only interesting for people with 100.000 fans and more or people who can spend a lot of money for advertising (and then you could ask yourself if there ain't better ways to do advertising).
The problem is, that there are so many bullshit articles about how great the internet is for independent artists. People start to believe that crap. And if an artist fails at marketing, he things it's his own fault. He doesn't know that he didn't have a chance from the beginning.

I think Eurobeat can only become popular again if two things happen:
1. Eurobeat producers should do musically as they please and not try to please a market. Italo Disco in the beginning was innovative and ahead of their time (the style Fockewulf 190 developed became totally popular in the later 80s for example). Now they copy sounds David Guetta (and others of course) used a few years before, because the sounds are already popular.
2. Don't go the indie way. Team up, not only with musicians but also with business people, visual artists, and others to create a network for selling Eurobeat. Stop relying on Avex, this thing is dead, there aren't any ambitions anymore but still Avex is restrictive about marketing besides SEB.
But it seems to me that most Eurobeat producers have given up already. It's either a labour of love only or they try to make a sound so different from Eurobeat that it's not Eurobeat anymore.

EDIT
Another point discussed here are the Metal influences in Eurobeat.
I don't think Manuel has Metal as main influence, it's more stuff like Queen.
But it's true that there was a time when Metal became a huge influence on Eurobeat. Earlier Italo Disco had much influences from Jazz, Fusion and Progressive Rock. These influences are very important.
I don't think EDM is a good influence for Eurobeat because it's too close and Eurobeat will become alike. The influences should come from totally different genres, because that's how the innovation was made in the past and can be made in the future.

This post has been edited by Teh Asphyx on Apr 15 2016, 02:28 AM

Concurred. I think the only reason Italian producers still make Eurobeat is because of their contracts with Avex. Mauro, Stefano, Dima, heck even Sinclaire all have dayjobs with their studios.

Avex is too stuck in their way of doing business, and they have little room for experimentation. What the ferk happened to Tech♥Para?? Sinclaire had to make 5 volumes of Hyper Techno to fill the void. Yes it's a money-hole that'll never make money... even less than Eurobeat; but god-damn that music is brilliant, and I love it on an equal level as Eurobeat. Since they are brothers per se~

I wonder who makes more money with their compilations... Avex with SEB, or Monstercat with their self-branded series that's picking up steam with a similar crowd here in America as the Eurobeat crowd in Japan. (Anime fans / geeks)

I highly dislike EDM, I think it has no soul nor passion... it's the new elevator music in my opinion. Heck at least elevator music's catchy... EDM is just plain boring. Dubstep/Brostep on the other hand, which is hated by pretty much every non-Japanese anime fan in the world, due to it's relation to mainstream bro-culture as the name might suggest, I fscking love!!

Why? It's just robot-sex noises right? Well, yeah~ that's why... I love it cause it's crafty, creative, and quite difficult to make right from a sound engineering point of view. Pure Dubstep/Brostep I dislike because it's repetitive and has no rhythm ...BUT... Eurobeat + Dubstep... that to me is:

A step in the right direction to burn Genres and create arrangements that sound otherworldly beautiful. ♪

Eurobeat is a brand, not a genre... to me at least. I hate genres. I think music should flow into a form where it can stop worrying about using the same VST's / mixing techniques, and just become a stand alone composition like the statue of David. If it sounds good, that's all that matters... and that's what gonna sell. Look at Nuage's solo Album; it sold like pancakes cause it sounded good, not cause of Eurobeat this or J-pop that. If something sounds good, it's gonna get into movies, commercials, your head, your bedroom, and what matters the most & drives music itself... your wallet. Cause no money no music, plain as that, at least from a CD printing-press's perspective.

I think we should shove Eurobeat / HyperTechno into pop-culture and make little girls suck our 21 pilots while having eargasms to dat ace song~ ♫

It's 2016, genres are dead / fans are dead. People and most importantly bank accounts only want one thing... a good song. Period.

As for artistic ability. I consider sound engineers above regular musicians. You can play the guitar like Sinclaire or sign like Ace... but give me a second with ARM or FN2 and I will worship the ground they walk on. They may have grown up on Super Mario and Lawson's Evagenlion Doritos... but HOT DAMN their songs sound 1000x times more elaborate, catchy, and fun than any given producer/musician raised on Beethoven and Bach.

To hell with musicians... they're all snobs anyway, mixing sound engineers are God in my eyes. ♪

The official SEB YouTube channel has 1.348 subscribers while Odyssey Eurobeat has 45.214. I don't know what other channels are used to promote Eurobeat, maybe there is something I haven't discovered yet but I think these numbers say a lot. But I can go on …
Eurobeat Brony alone has more than 10.000 fans on Facebook. Dave Rodgers is the only Eurobeat musician/label to have more than 1.000 fans (Clara Moroni doesn't count because she is famous under her Name as a rock singer in Italy).
Followers on Twitter:

A-One 5.065
Sugano 1.657
Odyssey Eurobeat 5.022
-
SCP 739
Dima 269
SinclaireStyle 614

DJ BOSS 734
-
DJ Skyblue 1.368

SEB doesn't seem to be a thing anymore even though it's still appreciated in this forum and on Eurobeat Prime.

Dubstep is quite interesting but mixing Dubstep with other genres gets boring very quickly.

Your example is great. But I think it only works when only a few songs are like that.

The most popular Eurobeat isn't even being produced in Europe anymore. But it is still also a genre, because musically it stands on its own. I wouldn't even call it a subgenre of something because it is so unique.

I hate it too. It's okay to distinguish let's say rock from rap because it's clearly different. But all those tons of subgenres we have nowadays are driving me insane.

I wish it was that easy (see my other post in this thread before). But the no moneys no music thing is really true. It's easy to listen to music without spending money, but you can't make music (at least not at a certain quality level) without spending money, and as a musician you also need money for living.

To me it seems to be quite the opposite. We never had so much genres than now and so many people insist on these genres and are so narrow-minded when it comes to music. The first thing people ask me when I tell them I'm a musician is the genre I play. My answer is always almost all.

Depends. It only takes practise to become a good technical player of an instrument or singer. But there are musicians able to play very special, personal, and emotional. And this is something I value very high.
Sound engineers don't do much musically. They just mix the channels. Do you perhaps mean composers/arrangers? If yes, I'd second that. Because creativity is something you won't get through practise. It's something you get from life and it's unique to everyone. You have to be open minded and let things flow into you.

I'm both and I'm a proud snob. Even though it's much more difficult to be poor and be a snob than to have money and live like a chav.

Ahh yes, arrangers... the wording just differs by country me thinks. Here in the states there's only 2 types of sound engineers: a mixer'er and a master'er. Master'ers don't do anything save volume control & final mix cleaning, totally easy if you have a decent PC that's not an overpriced MacBrick. The there's mixer'ers, they make music. That's it. But yeah, I'm referring to the genius that made this song. ☆

But you're a good snooby Bazooka my sweet mango~ money always turns people into whinny little girls that start complaining about the silliest things, piracy etc. That's why I love Saigen Complex, not only because the singer is Gackt times 99 to the power of a thousand... but because their stance is fsck it~ do whatever we'll make music, you're just there, listen if you want. Completely insane from someone that wants to make a living on music alone, but hey, dreams are intangible. The moment I actually start thinking I can make a living off of twitter-blogging is the moment I'll take a hard look in the mirror and... laugh at myself.

I was freely given, and I will freely give... what little talent I have anyway~ ♪

Italian dance music, or only even Italo Disco with later transformations to High Energy and Eurobeat are so wide, uncommonly significant, that direct association, connecting with the music produced today for Japan by a few labels on each SEB lost a logical sense.

Yes, we can say about Pop music "Oh Michael Jackson was the king". But looking to force something similar with Pop nowadays, that's a battle, which can't be won. Similarities have never existed. What was once valued, is ridiculed today.

But whether we can typify Pop like EDM, with this huge variety in many countries, where is produced so long (together with Eurobeat)? I would say "Yes", if EDM goes the same overall way like Pop. Just I mean - it's still changing. Let's only skip, that Pop means constantly being popular, earning money, beating radio charts positions, stars shining in headlights at the live shows, and it needs more and more news.

Have been passed too many years, also in italian dance music.

Independent producer may compose the one genre, the one style, put his creativity even into some new synths, but as long as he feels passion to be the producer of this, not another genre. He will survive having a loyal community. THAT IS TODAY ITALO DISCO.

If producer feels the passion to do everything and moreover is blocked by his publisher, requirements of the youngest generation, he'll never stay and can't stay with proven previously good melodies and so on. THAT IS AND WAS EUROBEAT YEAR BY YEAR SINCE 90s.

So why I write these extreme opinions (?), how the most of new tracks are terrible, which aren't warmly received, if this is Eurobeat, only with the same name, which was maybe forgotten to change? Not at all, that's nothing now, what first was called Eurobeat.

I realize very late, it hasn't any sense to discuss how it was, and how is at this moment. What for to remind the former Eurobeat fame, the interest of japanese people to listening so exotic european music, being crazy about the individual unforgetable tunes, or just who earned a fortune and what gained as a stage star, if today including the sound, these things have nothing to do with Eurobeat releasing?

It's EDM genre produced still in Italy for the japanese music market. And that's the end of comparison. Producers with passion, these older and very first, not for money still want to be the Eurobeat artists, but can't reach anything anymore, because it's not modern Eurobeat target. They haven't nothing to prove already, their golden years finished, and their former achievements also shouldn't be compared with people from the next generation and what they're doing now. These all things, which have changed simultaneously with the music core, really shouldn't be called clearly "Eurobeat", like it was the same music. The mark is SEB I think, but the marks going through changes. Number of volumes is a rich history, but isn't a reason to show, that this EDM italian genre still exists. I considere, Eurobeat is surely alive, but it's the comfortable, conventional name, to don't confuse the fans.

Have I my mind closed? It's only a subjective matter. I like Eurobeat, you like "Eurobeat". All about, what do you want to hear, what and when did you meet called Eurobeat?

This post has been edited by Crockett on Apr 15 2016, 02:06 PM

^We come from very different generations of what 'eurobeat is'. You have a love for Italo Disco and that's great. I do like some of it, myself. But genres do evolve over time, but I am so hesitant to say that modern eurobeat isn't eurobeat. New works still retain those vital characteristics that make it so. Yes, producers are finding new soundworlds to play with and experiment with. I love that.

I remember when everyone was in a ruckus because SCP did trancy sounds with Pamsy way back in the 140s and 150s. "Eurobeat is dying!" they said, but people ended up really liking those sounds that fit Pamsy really well. So eurobeat is an ever evolving genre and I'm proud that producers are playing and toying with it (see HI-NRG ATTACK and SCP for this). If eurobeat only sounded like Italo, then it would be Italo...not eurobeat.

Thank you! I wanted to say something here the whole day but I couldn't put it in words. That's exactly what I wanted to express!

100% agreed on what iheartmiho said.

Just because Rock & Roll isn't Johnny B. Goode as it originally was, doesn't mean Queen or Floyd aren't Rock & Roll. I'm not xiao, because I grew into a 32 year old guy; the original xiao was 9 months old, right? On the contrary my friend, something is defined as something by it's living definition not what the dictionary says.

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Eurobeat is indeed what you say it is, but it is also what it is now. It's a living fire of ideas; the epicenter that started out as a match is still there & can be seen from time to time~ but in order to keep the flame alive and burning, it's been constantly renewed over and over by different types of fuel... some making the blaze even brighter than what it was originally meant to be, others changing it's natural colour, and those few songs that just shatter the mould of genres and consume the world like the sun~ ○ ○ ○

My critique goes only to the SEB series. Other Eurobeat isn't affected by it.
And here I have to partly agree with Crockett. As I said Italo Disco and Eurobeat were always characterised by musical innovation. In the 80s even popular English artists like Pet Shop Boys for example went to Italian record stores to buy their good shit for inspiration.
Copying David Guetta with a few more BPM is not experimental or playing around, it's nothing but a miserable try to get popularity again while abandoning the original spirit of the music. Of course the result can be still a nice song but it has nothing to do with the “soul” of Eurobeat.
I don't agree with Crockett blaming the Japanese for that because it's the Japanese who continue with the real spirit of Eurobeat and Italo Disco. SEB doesn't even sell good anymore in Japan.

Pamsy's songs were fine.
The modern sound on Eurobeat isn't that much of a problem for me if it's done right. If one genre is really ruined by sounding modern, it's Metal. Modern Metal is really the worst.
But I'm not a nostalgic, it's just that with loud mastering, fast music can't sound hard anymore, because there is no room for staccato. It only works with slower music and that is why modern EDM has much lower BPMs.
Here again Japanese modern Eurobeat is much better. Most kick drums have perfect sustain curves and balance well with the bass lines.
But not all Italian producers are bad here. I never heard a bad mix or mastering from Delta or Boom Boom Beat. Never.

No, it's the same everywhere.
Composer: Person who invents the main melody, harmonies and rhythm.
Arranger: Person who creates all the tracks in a song.
Mixer: Person who balances the tracks in terms of volume, pan, effects etc.
Masterer: Person who gives the song the final touch to be ready to be released. Stuff like compression and limiting on the stereo sum, cutting and fading for final release.

Don't forget Hyper Techno too brother!! ♪

Delta = Sinclaire, Newfield, and now Matteo Rizzi

BBB = Mauro Farina

ALL LEGENDS!!

--- --- ---

> Composer: ZUN
Draws like a grade schooler, makes nursery rhymes. ZUN can die in a fire along with Toho, KanColle, every other beating a dead horse fandom in the world...
Give me Sugano, IOSYS, A-One, DiGiTAL WiNG, and Eurobeat Union ORIGINALS and I will buy every single one of their CD's... which I still do anyway~ xD

> Arranger: N. Hemler
> Mixer: N. Hemler
> Masterer: N. Hemler
> Composer: N. Hemler
> GOD: N. Hemler

♪ ♫

This post has been edited by xiao on Apr 16 2016, 11:20 AM

Do you remember guys Ace Warrior? Passed 17 years when he appeared on the some last A.Beat-C. vinyl. And we still don't know, I've never solved the puzzle on my Facebook group, who was he.

About him discussed also the fans of metal music, on forum of the band "Edguy", where the main artist was Tobias Sammet - considered as Ace Warrior.

And I want to say, metal fans, maybe fanatics, were truly happy, that their favorite metal singer and instrument player has never been involved in disco music.

Well, they hate pop, disco, EDM. When I was teenager, it was very popular trend, rock, metal fans hated such genres.

So try to imagine, if metal music must to survive, what would say fans, when this, what you call evolution in Eurobeat, became a new wave in metal? Mixing of genres, new influences.

IMPOSSIBLE !

I'm not totally closed to changes, I recognize the evolution in Eurobeat in the each year since 1990 and I accept it... and like more or less.

I noticed a lot of incredible light, parallel powerful synths by A.Beat-C. and SCP during 2000s, which could be I guess, pompously defining, beloved around the world. These labels squeezed out from new devices that kind of tunes, and it gives me a very deep pleasure, like former Italo style. I also associate many Delta tracks hypnotizing the ambitious melodies from the newer Eurobeat, not clumped together drums about 150 - 160 BPM, without anything inside. Eurobeat Masters digital series helped me to look quickly at Delta creation of many years, and I was mostly satisfied, what I discovered.

But what about the rest labels ? Once so, and once so... What about SEB after 2010? Third decade of Eurobeat is going on. Sun Fire if not because of Futura's voice is disliked or "weird" on the same CD, because in practice nobody stayed with the beats of 2000s.

And the last question, why Italo Disco, which after 80s had more songs than whole Eurobeat after 25 years, didn't burn up, and the same features are the only one and successful core?

Is it really needed to be changed each 5 years, or more often? Whether new studio devices are more limited than these before 20 - 30 years? I heard Avex Trax is open now and the artists have freedom with composing. We saw already the variety in 90s, in 2000s, so what is going on now, where's the evolution, where's the passion of using modern studio devices to differentiation the styles, without mixing with another genres, if Italo Disco lives better than Eurobeat without extreme evolution?

Passion, passion, passion, I believe in this, but isn't that passion limited to "Oh my god, I have to go to the studio and do something quickly, next SEB is soon"?

When I buy a new SEB album this is what I do:

1. Rip it to my harddrive
2. Listen to all the songs

3. Ask myself - Can I drive to this song?
4. Ask myself - Can I exercise to this song?
5. Ask myself - Can I kill zombies to this song?

6. If it's a Yes - the song goes in my Eurobeat folder.
7. If it's a No - the song goes in the Recycle Bin.

--- --- ---

That's all that matters to me... and that's what the average non-audiophile does.

Producers know this, and it makes their job of churning forgettable-song after forgettable-song for Max Matsura & DJ Boss easier. SEB is a platform of experimentation for Italian producers, nothing else.

Eurobeat will never die... but Eurobeat will never be Pop either. It's gonna stay on the internet, as a pretty relic of a time long gone.