Self-Narration 633 J-CORE Text OOO Life "OO Completed"

Original text: http://data.technorch.com/data/page/gbn633/gbn633.html

This article is a revised version of the PPT presented by DJ TECHNORCH at the TALK LIVE "Introduction to HARDCORE TECHNO" hosted by RoughSketch (NoteBook Records) in 2014 at Asagaya LOFT A, with fictional narration added.

This article was published the day before the upcoming regular TALK LIVE "Techno Talk at Asagaya LOFT A" hosted by DJ TECHNORCH, updating the "Self-Narration 93 J-CORE Document OOO" released in 2007 to the current version of 2015.

In 2007, the balance of power between real hardcore and fake hardcore was maintained

In 2007, the balance of power between real hardcore and fake hardcore was maintained. In the context of the release of "J-CORE Document OOO," the traditional European hardcore forces and the emerging "J-CORE" hardcore forces were almost balanced at a 1:1 ratio. Although the forces were balanced, the rapidly growing J-CORE faction had momentum.

Of course, I am one of the "fake hardcore," but if this continues, the scene will be dominated by one side

I feel a sense of crisis; I don't want the J-core scene to be left with only one color, but

I felt a sense of crisis. "If this continues, the J-CORE faction will be left with only one color." Of course, what I'm referring to here is not real hardcore, but "fake hardcore," which is the J-CORE faction. Although I was worried that the power landscape would suddenly change, I wanted to expand my activities; most importantly, I am not in control of the scene's power. But the outcome is obvious.

The massacre has ended
As a result, the O massacre was completed. The Tokyo scene is now left with only one color.

Self-Narration 633 J-CORE OOO Document "OO Completed"

I was invited to participate in a TALK LIVE called Introduction to HARDCORE TECHNO

The first words of a certain HARDCORE DJ

Does your HARDCORE talk!?

This article is basically the actual speech delivered. This is what a certain HARDCORE DJ said, regardless of whether he is "real" HARDCORE; first of all, he is not a J-CORE DJ. I was very surprised to hear such a question.

I was shocked; is hardcore untouchable? I don't understand why you take hardcore so seriously. By the way, in the Netherlands.

Paul seems to give lectures before DJing (Paul Elstak: Dutch HARDCORE DJ, known as "THE GODFATHER OF HARDCORE")

This is what I heard from a Dutch person, FFF, during a domestic tour. Paul Elstak often does things like "It used to be like this, and now there's a rising new DJ, DJ so-and-so! Boom" during TALKTIME at actual events (which is something you often see in European and American live performances before DJs go on stage). Paul Elstak is one of the pioneers of Gabber/Rotterdam Hardcore.

What surprised me is that they are afraid to even "talk about hardcore." I don't know if this means not to think about it, but to feel it.

So, what do you hate? Maybe people like me; I hate talking about hardcore

I hate being talked about by people like me; it's not that I hate sharing HARDCORE and making it grow, but for some reason, the background of the hardcore I talk about is almost 100% wrong for them.

Their hardcore and our hardcore are different kinds of hardcore, with no commonality

When someone says "hardcore is like this," they are just using the same word "hardcore," and both are completely talking past each other. However, because they use the same terminology, it becomes "that guy's words are wrong; that guy always says this when he opens his mouth."

Representative artists of GABBER; their HARDCORE and our HARDCORE

Let's think about GABBER; the "hardcore" someone talks about is the hardcore on the left, while the "hardcore" someone else talks about is the hardcore on the right. (※ It's not Noisenecio; the correct term is Noizenecio; I apologize for the typo.)

Mainstream Hardcore, which sounds the same, does not share the same world

Regardless of which, both are considered "hardcore: GABBER" in terms of SOUND components. But some things are fundamentally different, even if both use GABBER KICK?

Their hardcore = Hardcore, our hardcore = J-Core

Let's clarify the terminology here. The left is "Hardcore," and the right is "J-Core." The two are different types of music. However, there are various differences in the ways they differ. Before I turned 30, I thought like this:

This is how I used to think

Although they are different, the different methods are like this. The relationship is one of inclusion; J-Core and Hardcore are in a downward-compatible relationship. At least, that's how I thought. But recently, it seems there is something different, so how should I think correctly? This is how I think now:

In reality, it is like this

Hardcore and J-Core overlap in some aspects, but are they fundamentally "different music"?

We J-CORE artists also believe that J-CORE is a downward-compatible version of HARDCORE (probably) Why?

Although there is no consensus, so I can't say it very accurately, I am convinced that artists like me from the 2003 generation believed that J-Core was downward-compatible with Hardcore when composing. Why?

J-CORE is definitely one of the variations of HARDCORE in terms of sound

J-Core producers categorized J-Core in terms of "sound." Even in 2007/8, during the heyday of ani-song bootleg J-Core, there were Hi-Pitch Japanese anime vocals "over the hardcore beat," and that is J-Core. DJ Sharpnel, who is regarded as the pioneer of J-Core, exemplifies this difference. Because the sound is slightly different from Hardcore, it is classified as J-Core. If it is a regular Gabber composition, then it is regular Gabber. At least, most J-Core producers thought this way at that time.

(The original J-CORE was? (Speculation):

Around 2006, DJ SHARPNEL and others were clearly different from the previously overseas styles of Japanese hardcore.

Narrow definition of J-core:

Gradually, many styles like m1dy/REDALICE/DJ TECHNORCH also expanded the definition of J-core due to the uniqueness of Japanese production.

Broad definition of J-core:

By 2007, the term was also generalized within Japan.)

※ The presentation at that time contained errors. m1dy was one of the first artists to be referred to as J-CORE. I apologize for that.

So what is J-Core? Let's consider the original J-CORE. J-Core is a term created around 2006 or shortly before, by overseas DJs who loved Japanese hardcore when introducing Japanese hardcore to other DJs on overseas hardcore forums. The specific producers introduced as J-Core at that time included DJ SHARPNEL, m1dy, and a few others, said to refer to "only them." This is the original meaning of J-Core.

Narrow Definition of J-CORE#

Assumption. After that, the term J-CORE was introduced very vaguely into Japan, and DJ SHARPNEL released J-CORE REVOLUTION in 2006. This may have been the first release of J-Core in Japan. To be honest, many producers, including myself at that time (※), did not understand this term.

※ I just believe this; this PPT basically has no evidence.

A year or two later, not only was the introduction on overseas forums, but the term J-CORE was also widely used within Japan. Especially the sound of Anime-bWootleg, which was very popular at that time, was completely different from other music, shining as a sound that only exists in Japan. "J-CORE" was the most fitting term to describe these sounds, and it couldn't be more appropriate.

https://www.bilibili.com/video/BV1vK4y1f79Y/
JAKAZiD / Cillit Bang

Gradually, hit songs like Cillit Bang by British producer JAKAZiD also appeared. This song, no matter how you look at it, seems like J-CORE. So, although it was made by a foreigner, if it was made with a Japanese feel, it is J-CORE.

In summary, due to the broad interpretation of J-CORE, I published the J-CORE Document OOO without knowing the original meaning. My definitions mainly have the following two points.
J-CORE is not a music genre, but a name for a music market and category.

J-CORE is "hardcore produced in the Japanese music scene."

This definition seems to have captured the hearts of many people and is now quoted verbatim in Wikipedia's music name dictionary. But as mentioned earlier, I don't know "narrow definition of J-CORE = original meaning," so I redefined the atmosphere at that time. This led to

Broad Definition of J-CORE#

Assumption. These two definitions are different. Although it is now impossible, the semantics could be separated (I am one of the war criminals), and in this state, the term J-CORE began to take root. This was in the latter half of 2007.

The first DJ SHARPNEL track that was clearly different from overseas productions Audio Source 1

https://www.bilibili.com/video/BV1YT411E7bY/
DJ Sharpnel / Hot Pepperz

The first artist to be called J-CORE was DJ SHARPNEL. I also think he is the KING OF J-CORE.

DJ SHARPNEL's work directly influenced by 1995 The Shapeshifter - We Love Lum

https://www.bilibili.com/video/BV1LG4y1i7qQ/
The Shapeshifter / We Love Lum

At that time, DJ SHARPNEL was directly influenced by this track by The Speed Freak, which, as you can hear, is just a Japanese love song with a Gabber kick added. This was back in 1995.

After that, all Japanese artists, despite their different styles, included tracks that felt the J-CORE spirit.

https://www.bilibili.com/video/BV1sN4y177MS/
https://www.bilibili.com/video/BV19T411j7Ye/

(In fact, I don't know what the third song is because the link is broken.)

Why is it so confusing whether J-CORE and HARDCORE are different kinds of music? Because almost all J-CORE producers have been strongly influenced by foreign producers.

However, from 2008 onwards, the term J-CORE began to create divisions between producers and listeners. As mentioned above, I presumptuously redefined the broad J-CORE, defining J-CORE as an issue of classification and musical spirit, but among many producers, including myself, the J-Core during the heyday of ani-song bootlegs had a considerable difference in sound from the mainstream.

Similarly, in our view, J-CORE is backward compatible with Hardcore. This is because almost all J-CORE artists have been greatly influenced by international producers, "J-CORE is a form of hardcore."

But like DJ TECHNORCH/DJ MYOSUKE, many producers started from Japanese domestic producers

In fact, the influences in production were overseas producers, but many producers who composed starting from J-CORE or what later became known as J-CORE also increased. That includes Mr. Myosuke and myself.

DJ TECHNORCH: J-Core is a cute counterfeit made by imitating overseas Hardcore; in the future, I want to hear cute counterfeit J-CORE made by imitating J-CORE (the "reading music" mentioned above is a book published by TECHNORCH in 2008 about doujin music culture, which is still available on Amazon)

In the conclusion of my 2008 publication "Reading Music," I described the future of J-CORE. I believe J-CORE is a "counterfeit" of overseas Hardcore, but it is a cute counterfeit. Next, I eagerly anticipate the emergence of a double "counterfeit" hardcore produced by aspiring to this "counterfeit." J-J-CORE? (※)

※ It is likely that what separates from J-CORE sound here is "music game core." This is not involved in this presentation.

※ Refer to the two articles published on the old DJ TECHNORCH Tumblr in 2015 (both are no longer available, and the time machine can't retrieve them; if you want to see them, I can ask TECHNORCH for them)

Link: 【これが音ゲーコアだ！(This is music game core)】(@technorch July 19, 2015, reprinted from tweet to blog)

Link: 【ハードコアテクノ・ナードコアテクノ・J-CORE・音ゲーコア・リスナーの関係性私はこう考えます (The relationship between hardcore techno, nerdcore techno, J-CORE, music game core, and listeners. This is how I think.)】

REDALICE believes we should stop continuing to develop sampled hardcore and shift towards developing original and "real" hardcore

On the other hand, at the end of the book, REDALICE proposed the opposite opinion. Listening to the current J-CORE works of producers, I can see that it is REDALICE who has the foresight, saying we should stop the fake and move towards the real direction.

In reality, TECHNORCH's hopes did not come true; the domestic-oriented J-core, which is hard to distinguish from domestic Hardcore, gradually became mainstream

Currently, most J-CORE producers are oriented towards "real." The quality is also very high, and many works are difficult to distinguish from domestic Hardcore without Japanese vocals. The mainstream is "real" Hardcore.

The pioneering track of that has been around since 2004. Even though there are many tracks aimed at Japanese HARDCORE, in the sense of "having a significant impact," it is also a pioneer.
The heyday of Ani-bootleg J-CORE was 2007/8. However, I believe there is one work that had a huge impact on the current authentic orientation. (Although there are many works oriented towards "real," the one selected this time had a significant impact on many people.)

https://www.bilibili.com/video/BV1Xx41167YS/
teranoid feat.MC Natsack - gigadelic

https://www.bilibili.com/video/BV1Xx41167YS/
As a reference sound source that completely does not sound like J-CORE style—The Art of Fighters - Earthquake

It is gigadelic. I believe the number of producers and aspiring producers created by this song is very large. However, this song does not have a "Japanese feel" at all; rather, it is very locally inclined. Earthquake was a popular song by AOF at that time.

However, in reality, Teranoid/gigadelic and kors k/Sigsig had a decisive influence on later J-CORE

Then SigSig, followed by Smooooch. The songs written by kors k had a significant impact on young people. I believe this starting point is where we first began to have some deviation from the sound of J-CORE.

Let's look at the albums of J-CORE artists in 2014. The sound sources are very Japanese, and in terms of genre, they are completely indistinguishable from overseas.

Let's listen to the albums of J-Core producers now (2014) and see how much Japanese characteristics and outstanding features they have.

I don't think so; they are completely indistinguishable from what we call "real" Hardcore.

So why do we have this feeling?

Music has both sound and cultural layers

Although HARDCORE and J-CORE sound very similar, their cultures are completely different

In other words

This way

To reiterate, the earliest J-core was a term used to distinguish the sound differences from foreign hardcore

Let's return to the narrow definition of J-CORE. The artists originally referred to as J-CORE, like DJ SHARPNEL, were unrelated to culture; "because they sound obviously different, they were called J-CORE." This is a term used overseas.

Later, in my broad definition of J-CORE, I advocated that Hardcore "is different in sound and culture."

However, the current sound is almost entirely the mainstream sound of Europe.

So in terms of sound, they have merged. Now J-CORE only indicates cultural differences. This is a term used domestically.

So, what forms the cultural aspect of J-CORE? There are roughly two

Hardcore and J-Core, now only the cultural aspects are different. So what are the cultural differences?

Until 2004—NERDCORE, from 2004 onwards—music games

Roughly speaking—let's classify it this way; in fact, I think the influence of music games started a bit earlier.

The influence of music game culture is an absolutely enormous impact that cannot be excluded

These are not special features of 'music games,' but a miraculous culture obtained from the fusion of the two major interests of music enthusiasts and gaming enthusiasts

Now, the cultural aspect of J-Core should be music games.

Club J-CORE culture

Let's think about the cultural aspects created by music games

And what cultural aspects are presented by clubs

In clubs, people queue, enter at the start time, basically do not leave the stage, do not drink much, and after returning, share on SNS, and anonymously criticize those who remain still in the club (those who do not move at all)

And so on!

This feeling. It hasn't changed much from the otaku parties seen 15 years ago. It's just moved over. If otaku culture were to enter club culture, the most significant point would be

Especially important elements are the deification and idolization of DJs/Artists

With the development of deification, "artists" and "guests" will separate

What happens with the development of deification? Artists and clubs separate, and clubs become one-sidedly focused on serving customers who enjoy the content. There is no reciprocity. In other words

Concert-style Club Events

Is concert-style Club Events a bad thing? Does it feel a bit embarrassing?

The characteristics listed earlier are sometimes considered a bad thing or a shameful thing. If club audiences criticize otaku, I can understand that. Denying another value based on one value system. Regardless of right or wrong, that is completely understandable. However, in many cases, it is mutual criticism among otaku. Why?

One of the characteristics of otaku culture is the extreme shame of self-deprecating culture regarding things they cannot endure

In contrast, there is a Japanese street culture that has extreme confidence in behaviors they cannot endure

Let me give an extreme example. Rather than being completely opposite, it is a culture that is consistent, having extreme confidence in behaviors caused by one's impulses, originating from Japan.

That is parapara (if you want to know what parapara is, you can search for it)

Takeno Ko-zoku, Chinzou-dan, Parapara (gal culture), Japanese street culture is always very shy

I think you understand what I want to say? This is street culture originating from Japan! Yes, Japanese street culture is always very shy.

Decisive common points in the dance methods of parapara girls

Why do we align with these cultures? Because there are decisive common points in the way of dancing.

Below the waist, there is absolutely no dancing

That's how it is

The biggest feature of concert-style club events (from the waist down) is absolutely no dancing

Adding power to that

Above the shoulders, if it's more avant-garde, it's only dancing from the elbows up

In Break and similar situations, arms swing like eels to the rhythm of the synthesizer, or arms undulate, arms swing like eels fuwafuwa.

Above the shoulders, if it's more avant-garde, it's only dancing from the elbows up

The popularity of below-the-waist culture in Europe/Japan's above-the-waist culture

The world of Japanese otaku and gal culture is quite different from the global club culture.

The popularity of Japan's above-the-waist culture (DENPA means electric wave)

This is a lie; the current trend is too dispersed, and it's not very clear. However, in the market share of anime songs and idol songs, a large number of fast-paced songs that can only be said to be influenced by Happy Hardcore and others have flooded the market.

HARDCORE/DJ culture tracks (especially Break) are danced from the waist down

"Hardcore" is music aimed at dancing from the waist down. Not everyone stretches their hands in the same direction during Break and dances together.

DENPA/J-CORE is partly danced from the waist up,

Very avant-garde example⑦

You can tell at a glance; the structure of the music used above the waist cannot be danced for hours using below-the-waist dancing, right?

I came into contact with this new, innovative music called HARDCORE/TECHNO, but

It is important to note that some people think music is for dancing from the waist up, as if just that is not a good thing. But we are all familiar with TECHNO music, which is a genre that always strives for innovation. However,

Although parapara/DENPA/J-CORE is clearly something new and innovative, it is too embarrassing to want to enter history

These musics are undoubtedly new, but because of "shame," they are reluctant to call them new and unwilling to place them in history. I am thinking. What is the most embarrassing thing?

Is this okay? Isn't the truly shameful thing to be ashamed of one's own culture and to belittle the path one has walked?

To gain confidence, what data do you want to prove? For example,

Don't be self-deprecating; in fact, Japan is the country with the best-selling hardcore works in the world

Don't you believe it? By the way, the sales of DJ TECHNORCH's compilation albums are about 4,500 copies.

UK HARDCORE/GABBER releases have decreased year by year

When was the last release of CLUBLAND X-TREME HARD?

Japan's annual release volume and sales are increasing, precisely the hardcore bubble

In contrast, can you count the J-CORE CDs released each quarter?

Q: Overseas, it seems that the number of album releases has decreased because it has shifted to a distribution-centered model. A: The sales of distribution are actually...

When I downloaded more than Neophyte 15 times on juno download.com and ranked sixth on the Hardcore Chart, I was very surprised. This was confirmed among several Japanese producers with distribution overseas. Europeans neither buy CDs nor buy mp3 singles, so is Hardcore unpopular in Europe? Of course, that's not the case!

Q: Of course, in terms of the size of the scene, mobilization numbers, and recognition, UK/NL (Netherlands) are overwhelmingly ahead of us

The mobilization number of the Dutch dance music festival Dance Valley reached 100,000, which can only be described as astonishing in terms of population ratio. Hardstyle/Hardcore occupies a significant position in these events. In contrast, the largest Hardcore/J-Core party in Japan has a maximum of only 1,000 people. In that case, it is completely unbalanced with sales; why?

This is a difference in lifestyle caused by cultural aspects

When UK DJ Thumpa came to Japan to perform, I told him that 500 Japanese people attended, and 3,000 CDs were sold. He was very confused. "Isn't that completely the opposite?" Yes, it is the opposite. Europeans and we enjoy dance music in completely different ways.

The real "HARDCORE flow
Does not rely on track sales for income
Relies on DJ/Gig sales for income
Thin but broad popularity (large square-type club events)
Participation numbers are the highest in the world
Self-confidence

The "counterfeit" J-CORE flow
Relies on track sales for income
DJ/Gig income is not that much
Thick but narrow popularity (concert-style club events)
Sales are the highest in the world
Self-deprecation

It is very difficult to live in Japan with an overseas HARDCORE lifestyle

(

The overseas practice is: must live in areas where DJs are well-known → that is, areas where customers do not purchase music

Tracks must be USE-able by DJs (J-CORE/NERDCORE/music that dances from the waist up cannot be produced)

If practicing the Japanese style:

Must often live in areas with immediate sales → that is, areas with low DJ appearance rates; making tracks for DJ USE is not very meaningful. In summary, I believe it is very difficult to balance both.

)

European Hardcore DJs have DJ value but no track sales,

Japanese Hardcore/J-Core DJs have good CD sales but no DJ value.

If you want to live off DJing, moving overseas is necessary. Give up on sales events.

If you want to live off CD sales, geographically, you cannot DJ if you are not in Europe. Give up on living off DJing.

This may sound a bit extreme. In reality, both should have their own balance. However, I believe it has not yet reached a level that everyone can imitate.

So I say. Japan and Europe are different. In other words

Please, everyone, get along well