Original text: http://data.technorch.com/data/page/gbn93.html
Translator's preface: This is an article published by TECHNORCH in 2007 about J-CORE culture and its relationship with clubs. Although Tekkai later changed his views on some parts of this article, the overall idea remains correct. This serves as a precursor to his later piece about the true development of culture, titled "The Massacre is Over." After you digest this article, I will share that one. I hope both J-CORE enthusiasts and those who want to understand J-CORE can gain some insights from these two articles.
This article can also explain many current phenomena; it depends on how you interpret it.
TECHNORCH: After the "Cultural Revolution" of J-CORE, the "true hardcore" of the intellectual class was massacred. At that time, various forces were contending, and we in J-CORE could not expand our influence while adjusting our momentum. I hope the true hardcore can be revived in this way, preserving the two different forces completely within us.
As of 2015, the massacre has been completed.
【On J-CORE】
Today, I want to consider Japanese Hardcore a bit more seriously than usual.
This time, it’s not about the usual "fields of interest for Technorch," but rather a candid discussion about the articles in the "field that Technorch will belong to." Therefore, while writing this content, I may be criticized by those with differing opinions, or even by those who share the same opinion but have different stances, or by those who know this is a sales strategy but do not want me to say it. That said, I do not have an indifferent attitude towards these criticisms; rather, I sincerely hope everyone will read this after reconfirming their thoughts.
【The Hardcore Scene in Japan】
So, what was the year 2007, no, 2006-2007 like? First of all, for those already in the scene, it was the year Japanese Hardcore ended; for those just entering the scene now, it can be said to be a year of dramatic change in Japanese Hardcore. Is there anyone surprised to read this? Perhaps "those who are not surprised" are "those who have long been involved in the Japanese hardcore scene," while "those who are surprised" are "those who have not yet encountered the Japanese hardcore scene" or "those who have been in contact with the Japanese hardcore scene." Even if there are, they might be "those who did not expect Technorch to say such things."
【NerdCore and J-CORE】
Here is a term: J-CORE. Some pioneering producers have been using the term J-CORE for a long time, but the first time I saw the term J-CORE was on an overseas blog. There was the term "J-CORE," which included a brief commentary and a list of representative producers, including my name.
"J-CORE??? What is that??" That was the first time I heard that there were "J-CORE FREAKS" overseas who recognized our Japanese hardcore as "a hardcore style based on Happy Hardcore, UK Hardcore, Dutch Gabba, and Speedcore, different from mainstream hardcore music." This made me realize what they recognized while being at the center of the Hardcore scene.
Returning to today's topic, at some point in Japan, NerdCore became very popular. (At this time, there was already a special doujinshi market and doujin music market, which, although somewhat distanced from the club scene itself, certainly overlaps with the development history of doujin music.) "Hardcore Techno" emerged as a new sampling style genre from the club scene, and now Hardcore has become an important topic in Japan, with an incredible number of people involved.
Later, some subculture magazines or magazines related to subculture began to pay attention to this field, but according to the records at that time, it was not "NERDCORE TECHNO" but "ナードコア・テクノ." When I saw the feature called "The Dawn of NERDCORE TECHNO" in the subculture magazine "Quick Japan," I was greatly shocked.
I thought clubs were cool and fashionable, with no space for otaku culture (which at that time included not only what we know today as anime but also various "otaku things" like movies, martial arts, TV dramas, and radio), so when I saw the article "The Dawn of NERDCORE TECHNO," I was very shocked. I was astonished by the sheer number of "NERDCORE TECHNO live performances that are completely different from normal CLUB LIVE" described in the book.
I will not delve into the origins of NERDCORE or the current situation of each producer here. As a member of a new era, my experience of that time is too limited, and the more I write, the more I deviate from the situation at that time. Simply put, "DJ TECHNORCH does not understand true NERDCORE." Therefore, I will focus on the story that happened afterward, which is what we are currently experiencing, what we call "J-Core."
NERDCORE music has developed and been passed down to the next generation of producers, who retain their own styles and are directly influenced by the "secondary creation" style of the manga market and doujin music. Before we realized it, Japanese Hardcore Techno had developed this "uniquely special feeling worldwide." This idea gradually became a common understanding. This is the development of NERDCORE, and conversely, the decline outside of NERDCORE.
In other words, more and more producers are creating in the Nerdcore style (influenced by mainstream Nerdcore but slightly different due to influences from doujin music, etc., yet still referred to as Nerdcore style). In contrast, those producers who do not belong to NERDCORE have gradually exited the front lines.
"You’re saying that JB, many producers can make real hardcore just by listening to these things." Indeed, but it is evident that the number of people who "only listen to these things" is indeed increasing. This is because Hardcore, as a music genre, is gradually declining in popularity; meanwhile, in the music industry, the only rapidly growing genre is the doujin music market, where Hardcore's popularity is gradually rising. I believe this is the result of both events happening simultaneously.
When this NERDCORE music became so prevalent that the Japanese HARDCORE scene was gradually occupied by NERDCORE, producers of NERDCORE no longer needed to specifically state that they were making NERDCORE. Overseas producers and enthusiasts have already noticed this. "The Hardcore produced by Japanese people feels somewhat unusual," and this feeling is referred to as J-CORE. Although the influence of NERDCORE is strong, it is not very close to NERDCORE music. While not all, many Japanese producers have accepted this term. The term J-CORE has a persuasive power that can resolve the ambiguous feelings of those I have been referring to as "Japanese" and "NERDCORE" up until now in one breath.
【J-CORE・Doujin Music】≠ Music Genre】
I consider A-POP and doujin music to be the sharpest and most avant-garde styles of music in the world. You can take this statement as my personal opinion with colored glasses, but I believe the term J-CORE does not simply refer to a music genre; it is a term that refers to a market.
Moreover, this term is full of the spirit of doujin music. First of all, what is the music referred to as J-CORE (≠ What is the definition of J-CORE)? I believe "hardcore produced with a Japanese feeling" encompasses all of J-CORE. The music produced in the Japanese scene results in the fact that whether it is the "terms referring to music genres" such as GABBA, SPEEDCORE, HAPPY HARDCORE, UK HARDCORE, FREEFORM HARDCORE, NU STYLE, or JUMPSTYLE, it can all be summarized with the term "J-CORE," which refers to the music market.
Isn't this exactly the idea of doujin music? "Techno" refers to "terms referring to music genres." Techno enthusiasts go to techno record stores to listen to techno DJs' tracks, buy techno records, and listen to techno DJs' performances at techno club events. "Doujin music" refers to "terms referring to the music market." Doujin music enthusiasts go to doujin music stores to buy fantasy music, metal, electronic music, techno, trance, and hardcore CDs, and listen to fantasy music, metal, electronic music, techno, trance, and hardcore music at doujin music events; isn't that how it is?
I believe doujin music does not refer to the final output music genre; all music created by doujin music creators is doujin music, referring to the music market itself. Similarly, the term J-CORE, regardless of whether the final output is GABBA or HAPPY HARDCORE, can refer to the hardcore produced by J-CORE creators.
Thus, UK HARDCORE produced by JAKAZiD (who is not Japanese) is "hardcore of the Japanese scene," so it feels natural to call it J-CORE. Similarly, GABBA produced by spy47 (who is not Japanese) is also "hardcore of the Japanese scene," so it can also be called J-CORE. At least JAKAZiD's Cillit Bang is the most popular "hardcore of the Japanese scene" in the world. In Europe, there are very few top artists who produce UK HARDCORE while also producing NU STYLE GABBA, but in J-CORE, it is not surprising who produces what type.
This is because J-CORE is not originally a term referring to music genres but rather a term referring to the music market. To become a selling point "popular overseas," there are certainly cases of forcibly using the term J-CORE (Is it because it is popular overseas? If it is released overseas, what should it be called in Japan? What does it matter if it is part of Cock Rock Disco in Japan? How much influence does the change from ナードコア・テクノ to J-CORE have on how many people buy it?). I believe the fundamental reason for the birth or acceptance of this classification of J-CORE is this way of thinking.
【What Changes is Not Music but Culture】
Next, let's talk about the scene. In recent years, there has been a significant increase in J-CORE albums with anime covers. It has gradually become a consensus that making the cover look good can attract more buyers, although I don't think there's anything wrong with that.
Previously, there were very hardcore covers like ThunderDome (which had a strong metal influence), Gabber had best-selling covers like Gabber, and everyone had a similar style of cover.
Early Happycore was suitable for covers with a light and cheerful smiley face like bonkers (which was heavily influenced by Oldskool Rave); if it didn't look serious, it wouldn't sell, so everyone made covers that looked like Happycore, which could sell like Happycore.
This hasn't changed much to this day. Just look at the current UK HARDCORE releases. Regardless, how can covers lack a few beautiful women? If I were asked to distinguish the covers of Clubland X-Treme Hard, Hardcore Underground, and Hardcore Adrenaline without their logos, I don't think I could tell them apart. This is the current popular cover of UK HARDCORE, which is "the best-selling cover."
Moreover, there are names that sell well. Almost all the titles of best-selling CDs are written with HARDCORE. Hardcore Adrenaline, Hardcore Nation, Hardcore Heaven, Hardcore Underground, Hardcore Reunited, Gabber is the same, Hardcore To Da Bone, Always Hardcore, Hardcore Hooligan, Hardcore for The Headstrong. But this title is something Gabber and Happycore have been doing since the past, so there’s nothing new to say about it. Before it became popular, it was the entire hardcore culture.
Generally speaking, chasing popular covers is a natural trend, part of corporate efforts. Since ancient times, there have been "people who like to buy this kind of popular cover," "people who deliberately do not buy," and "people who do not care," and this pattern has not changed much; what has changed is not these.
Things began to change when J-CORE transitioned from club culture to doujin culture. Culture and market are transforming. In other words, the audience itself is changing. This is a very dramatic change. The "year that was the end of HARDCORE for those originally in the scene, and a year of dramatic change for those currently in the scene" refers to this. The final audience is very different people. The change in culture and market means a change in the audience.
This is no longer a change in sound with the trend of popularity but a fundamental change. "I can't keep up with the Gabber scene because it merged with the HARD HOUSE scene into the HARDSTYLE scene," and "the hardcore scene and the doujin scene merged into a scene called J-CORE, and I can't keep up" have completely different meanings. The meanings are entirely different.
The change from NU STYLE GABBA to HARDSTYLE is a cultural change that is minimal, basically a change in sound. However, the change from HARDCORE to J-CORE has little change in sound, yet the culture has undergone a dramatic transformation. The sound emitted above is the same, but the listeners below have completely changed; to put it extremely, this is how the change in J-CORE is now.
【Club Culture and Doujin Music Culture】
So, is J-CORE, which has doujin music culture, not viable? That's not the case. At least I really like doujin music. In today's world, apart from A-POP and doujin music, no other type of music is undergoing such significant changes. (Additionally, in the struggling music industry, the only type that is rapidly growing in data is doujin music. Therefore, many companies are now eyeing it, but that's another story.)
However, there are fundamental cultural differences between doujin music and club scenes. People in clubs listen to music repeatedly played by DJs and buy CDs. But doujin music is mostly about listening to CDs first, preparing in advance, and then going to see live performances. Complaining that "they don't understand what CLUB is" is futile. After all, the cultures are different.
On the positive side, because of the preview culture, there can be an incredible atmosphere during live performances for specific songs by specific artists (those who have seen it once should know that kind of enthusiasm is incomparable to club DJs), while on the negative side, there is almost no reaction to unknown songs. If you reverse this, it becomes the pros and cons of club culture.
The question is not which is better or worse, but which suits the current self. Club culture is cooler; J-CORE is not. Allowing the new generation of hardcore enthusiasts to harbor the fantasy that "club culture = cool" is a good sales tactic, but at least I am not very interested.
While I don't know how everyone perceives this, I think the overall HARDCORE scene will transform into a doujin music scene in the future. In this case, DJs are at an absolute disadvantage, while live performances hold an absolute advantage. For those who have always immersed themselves in club culture, this is not a good thing. Because of this, for these people, it is the end of the Hardcore Techno scene. But for those in doujin music culture, it is the best environment. Because of this, for these people, it is a transformation and evolution of the Hardcore Techno scene.
However, from my standpoint, it may not be like this, but suddenly transitioning to this makes even those involved anxious. If we cannot achieve a bit of balance, the current situation will be very dangerous. But such changes cannot be easily categorized as good or bad. What matters is whether you like it or not.
【Back to the Present】
This time, in my self-reflection, many new generation individuals have emailed me asking, "When will the new CD be released? I want to talk to you about some things..." so I thought of writing this article. Now, in the rapidly changing new generation HARDCORE field, what kind of works should be produced for future CD releases? I am currently 23 years old. So frankly, I do not have a position to exaggerate. At least the older generation of creators should ignore what I am about to say. So, to future creators of hardcore technology.
Please do what you love. I shouldn't need to say this explicitly. If a person is filled with love for CLUB culture from head to toe, they will say, "The cover should match the mainstream scene / must consider the DJ MIX situation when producing / the rhythm volume must be loud—this CD is loaded with these elements."
If someone genuinely loves club culture, they will naturally produce such a CD. But here comes the key point. Someone who likes songs with structures similar to club music and smile curves, for some unknown reason, produces a CD with a two-dimensional cover, unsuitable for DJs, with bass jumps.
It's truly incredible. But the answer is simple. Because that person loves doujin hardcore. In this case, they should write "suitable for club crowds" on the side cover as much as possible when targeting doujin music stores, using such a sales strategy to attract those who also think "club culture = cool." This is not a bad thing at all. There are so many CDs released with anime cover doujin styles; if I were to say, "I am a fashionable club DJ," that would be too boring. This is not bad at all.
What matters is what you like and dislike. I like strange illustrations; I love them. That's why it has become like this. Conversely, RoughSketch's CD (RAVE IS...) is completely distanced from doujin music, maintaining a consistent theme, and actually makes me feel good.
Those who want to stick to club music should stick to club music; those who want to stick to club doujin music should stick to club doujin music; those who like doujin arrangements should stick to doujin arrangements; those who want to stick to subculture music should stick to subculture music; those who want to gather people at live performances should produce CDs that can gather people at live performances; those who want to gather people at clubs should produce CDs that can gather people at clubs; those who want to sell many CDs should produce many CDs; those who want to make money should produce CDs that can make money.
Now, I finally mentioned money. In the world of music, making money is sometimes written as a bad thing. But why can't only musicians make money among many professions? If you love club culture, then produce CDs suitable for club culture; if you love money, then produce CDs that can make money.
However, club culture CDs are not favored by doujin enthusiasts, and doujin music CDs are not favored by club enthusiasts; CDs that can make money are even disliked by both club and doujin music enthusiasts. Therefore, whatever CD you produce, you must be mentally prepared for the corresponding risks. Just if it involves money, the risk increases about tenfold, which is very tough.
The previous descriptions may seem like they are saying, "All directional CDs should be forgiven," but that is not what I am saying. Because of this, likes and dislikes will fade. It should be said that if you like it, then like it; if you dislike it, then dislike it. Therefore, for those who dislike doujin culture and like club culture, it is a crisis period. I also feel troubled by the club scenery that has no connection to doujin culture, but because I like club culture itself, I hope to find a way to resolve the current situation. Conversely, regardless of liking or disliking, if hardcore is neglected, it will be buried by doujin culture.
To get back to the point, say you like what you like and dislike what you dislike. However, from the perspective of broadening diversity, I believe all directional CDs should be released, but I also dislike things I dislike. For example, the most easily understandable example is "club culture enthusiasts laughing at doujin music enthusiasts while releasing CDs aimed at doujin music." I hate this the most. (※ I changed my view on this later)
Try to self-analyze why you dislike it. What do those who produce such CDs like? Is it doujin culture or club culture? No, it's money.
"What? Didn't you just say that CDs made by people who like money are not bad?"
I personally do not dislike "CDs made by people who like money" (nor do I particularly like them). So, what do you dislike the most? That would be "CDs that mock someone." The previously mentioned "people from the club culture laughing at those from the doujin music scene while releasing CDs aimed at the doujin music scene" clearly lack a spirit of dedication. Moreover, such people, if you listen closely, will regard "listeners familiar with club music" as "high-quality human listeners" and "listeners unfamiliar with club music" as "low-quality human listeners."
Then why not sell to high-quality people? I find such people very disgusting, extremely disgusting. They claim to love club culture, but when they can produce such CDs, that person prefers money over club music and doujin music.
Perhaps it is because they have not prioritized what they like that they have become like this. But I want to reiterate that I do not dislike CDs made for profit.
Those large circles sometimes release CDs with quite blatant sales strategies, and these CDs often receive criticism from the doujin community upon their release. However, even if they are CDs made by people who like money, I still have a good impression of most such circles. Many of them have thoroughly researched what kind of music listeners need, what tricks can make music sell well, and because they love learning so much, they can continue to work hard, ultimately becoming "wall circles" (Translator's note: Wall circles refer to circles that are placed along the walls at events like doujinshi sales, and in most cases, they are large circles. The wall placement allows for easy queueing without disturbing other circles and ensures ample space for stock storage, among other advantages. Therefore, due to the event organizers, most large circles are placed along the walls).
"I want to make music I like," they unconsciously think, but they love things that "make the audience happy" so much that it even surpasses their love for music itself, and this mindset can also make money. This gives them more motivation to do these things. Here, you can feel a strong spirit of dedication. Therefore, the CDs produced by such people are all painstakingly crafted, and I am surprised every time by the thought, "Oh, there’s such a method!" There is a spirit of serving the audience there. Such people may actually prefer money more, and they may prefer making guests happy, which is their priority. I neither like nor dislike people who like money, but I may like people who like making guests happy more. Of course, large circles also have "disgusting CDs"...
Finally, let’s talk about myself. So what did I do in BOSS ON PARADE REMIXES? I want to convey that this is also a CD that I like. I want to tell doujin music enthusiasts, "There is music like this in the world!" and I want to proudly tell club music enthusiasts, "We make music like this!" I think this is a greedy thing.
Moreover, the most important thing is doing club culture things in doujin culture + doing doujin culture things in club culture. Ultimately, I think what matters most is that I like such things. Additionally, I want to leave the existence of TECHNORCH in people's hearts for a long time. These are my preferences.
And I personally believe that the current activity policy is correct in the long run. Therefore, today’s assertion is that if those who think such erroneous CDs are made by "correct" people say so. If you feel "this guy is wrong," it must be because my words lack persuasiveness.
Thank you for reading this far. Please also do what you like and buy what you like.