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Since this is quite dead and a lot of newfags are invading the place, I won't mind necroposting this.

I'm quitting IDWorld and eurobeat in general. I'm tired and sick of how labels are pulling up with the same old thing over and over and over. I'm also tired of how the fanbase keep saying "avex sux kek", when said fanbase keeps supporting AVEX (and the labels working for AVEX for that matter). Is like you guys like being pissed on your mouth. And I'm tired of so many restrictions that Japanese (and gatekeepers) are pulling off their minds, just for a genre that got stale in 2009, at least.

Oh, and if any of you guys still like eurobeat, I'll be sharing everything that I bought from Bandcamp. It'll be on smiRaphi's Soulseek account coming soon.

See ya.

Sad to see you go, reallybruv. I enjoyed your contribution around here. Will miss having you around.

Who asked? lol. Later brehbreh, have fun being coolguy on 4chan

The gatekeeping thing really got tiring, honestly Eurobeat as a genre had quality and popularity till probably the mid 90s, it’s 3rd boom around 1999-2001 saw another successful era with good songs but this time it’s audience changed to younger people that didn’t have the same spending income as the ones that enjoyed the genre in the first half of the 90s, that’s why we see a shift in sound and aesthetic beginning in 1999 ( euromach included ) by the year 2002 the bubble bursted and things really got tiring , albums sounded all the same , all labels songs felt repetitive, there was no innovation like in the 90s, although 2007 2008 and 2009 saw really good productions , the genre already was kind of already dead, not as much as today. Without insulting anyone or bashing the genre I feel Eurobeat peaked in the 90s and everything made after that was just a sort of illusion of trying to bring back the genre popular again but it didn’t worked , people move on , people change , the world evolves.

If I’m honest here, I feel Eurobeat in the 90s had popularity because people in Japan felt this genre was also played or commercialized around the world , once they realized it was only a thing made for Japan I don’t know if that changed their perspective of the genre itself.

Feel free to discuss

Btw, I’ve been following Eurobeat since 2005 , almost 20 years now, so I’ve seen how the genre evolved and changed since then.

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This post has been edited by pyramid on Oct 1 2024, 11:44 AM

Tbh you could say the same about anything today. "It was much better years ago".

Any genre of Music, Films, TV and Games. Heck even books. Even your favourite sports team.

Like you ever think we're going to have as deep TV shows as say Twin Peaks ever again? The problem is when something gets popular then you have all these far less skillful people come in trying to replicate it for monetary gain without understanding why it was good in the first place.

Eurobeat should just be one of those things where you look back on it fondly like most things in life.

We gotta take eurobeat how it is right now. It's not an easy time for the labels. The fans don't know what they want and the labels don't know how to make eurobeat visible in general public again (including me).

I do agree that the gatekeeping is a big problem. In the end, the community should be a beacon for anyone who's getting into the genre to point them to the right directions to find more eurobeat.

I can't comment on Avex as I'm bound to them as a business partner...

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I feel the genre needs to shake up things a little bit and by that I mean trying new sounds new beats new synths, moving away from anime and racing cars, I was re listening to a lot of SEB albums and some decades felt repetitive, even years, for example vol 221 through vol 246 felt kind of the same , there were few innovations between labels but overall the albums were tiring, same happened in the 2000s, some years felt stale compared to others. Of course all years have great songs , but sometimes the good songs were few and the rest was average.

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okay anyways imma have fun listening to the same 500 songs over and over

Okay anyways

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The state of Eurobeat today is quite unfortunate, taking into account that the new generations of musicians of the genre are quite amateur and incapable of composing original material, remixing songs from anime or video games most of the time. And on the other hand the labels that continue to republish the same thing over and over again under another name.
Unfortunately at this point the only thing keeping the genre afloat are the old artists who are still in the business.

This !

The genre is unfortunately so attached to anime and videogames that it actually makes it not appealing at all, old school producers and artists are the ones that really know how to revamp or update the genre.

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Outside of Dave Rodgers. How is eurobeat attached to anime? We just make songs. Did you hear any songs made in 2023/2024?

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What do we have outside of SEB? The biggest indie artist Odyssey I forget sometimes she's more than just Ken(dra) Blast. Turbo does great work but I feel also gets somewhat wasted as it's mostly just remixes. I wish we got more stuff from him like Nightlife, and speaking of which Axel, one of the newer kids on the block feels a bit weird that he isn't on SEB as he feels like he was, then again even though he's mostly working with Twentace, he is singing for a big name Eurobeat label. Keisari is like Turbo but a LOT more original content, and what he can come up with is amazing. For McBazooka... I feel bad as he just seems to be known as the merci twingo guy and not much else, he actually has a decent catalogue under his name.

Who knows what will happen? Also my hottest take of them all: it's time to end compilations. You want a serious eurobeat artist in the new generation - solo albums, singles, consistent live performances, and actual advertising of not just the music, but the person behind it are what make artists known.

Most of eurobeats momentum was pushed by parapara culture, now that that's kind of stagnant with the same people from 20 years ago, I agree that we need to shake it up with actual artist focus