Cover: https://www.pixiv.net/artworks/87877250
I originally wanted to post this in the comments section, but unfortunately, it was automatically deleted by the system as soon as I posted it, so I will first post it in the column and then reference it in the comments.
The article about fried rice that everyone expected did not come, and I apologize for that!
I will summarize the points from the last video that easily caused controversy. If anyone is interested, you can check out the column I wrote earlier: https://b23.tv/dqhiaW2
- Why do we find this music abstract:
In summary, it is "detached from the scene, poorly made, and overly functional." For specifics, you can refer to the column or discuss it further. Here, I will specifically discuss the excessive emphasis on functionality, which is the most controversial point in the last video, xronie.
I can understand the high BPM and complex arrangements that everyone talks about, but these musical works are overly concerned with functionality. If you were playing in a game, it might be acceptable, but as standalone music, we consider it inadequate. Moreover, trying to balance functionality and artistry in rhythm games has produced many such works in older music games, and it shouldn't be an excuse for music to sound bad.
- Why do I like some of the music in this video:
It's normal. In fact, a friend who filled out a survey found that he had liked three songs in this video on NetEase Cloud (I won't say who it is), but he still doesn't oppose the idea that these tracks are abstract and wrote down his own complaints. Making this video is not meant to evaluate others' musical tastes; judging others' tastes is inherently arrogant. If you see a song you really like on the list but still feel fond of it after reading the complaints, trust yourself and don't believe us. Often, it just takes experience and time; maybe in a few years, you'll look back and understand why these songs are considered abstract, or maybe you won't, but that's not the purpose of making this video.
- I believe these tracks are experimental music/have experimental qualities/these producers are exploring their new boundaries:
For the first two questions, if you listen to some real experimental music, you won't have these doubts.
Regarding the third question, if you have been a fan of these doujin composers for a long time, you will find that these people haven't invented anything new over the years. Here’s an example from recent doujin music that I think explores musical boundaries:
If you are familiar with 3r2, you should know what I am talking about.
In contrast, these people are merely shallowly imitating some popular trends from Europe and America or packaging their music with character designs to make those who don't understand or haven't delved deeply think these tracks are impressive, which leads us to the fourth point.
- Do we hate these people:
Of course, anyone who knows me knows that I was the founder and leader of the tanoc translation group, voluntarily translating many videos and handling Twitter for nearly a year for these few people. I even collaborated with DLC on an aran-only set, and myosuke has been a hardcore enlightenment for many contemporary doujin music listeners. I won't elaborate on others. For me, the reason I left the tanoc group is that the work these people are doing is indeed terrible, to the point where I couldn't continue translating their videos against my conscience. Most of the people who complain about these tracks share similar experiences with me.
Despite this, we hate the music, not the individuals (with some exceptions). However, more and more enthusiasts have shifted from loving the music to blindly loving the individuals, caring more about where these people eat, what clothes they wear, what shows they participate in, and who they are close to, rather than how their music is.
- Why do we dislike certain people/what has happened:
I recommend checking out two recent articles I translated by Technorch about jcore, as well as my own article on doujin music:
https://www.bilibili.com/read/cv17884188
https://www.bilibili.com/read/cv17769333
https://www.bilibili.com/read/cv17804336
In short, the idolization of producers has led these enthusiasts to view them as gods/idols. This is quite difficult to happen in the doujin music scene, which emphasizes communication among like-minded individuals. The distance between producers and listeners should be infinitely narrowed, not infinitely enlarged. When you see these people, they don't seem like enthusiasts but more like idols or gods, I believe they have already deviated from the equal dialogue conditions necessary for like-minded communication.
However, I can understand that creating personas and managing idols can attract loyal fans, thus sustaining these individuals. But this is not the reason for their poorly made tracks. Furthermore, when these individuals, after gaining popularity and fame, start to produce music that is difficult for us former enthusiasts to accept, their personas and idol management may become obstacles to their progress. Thinking about it this way, perhaps creating tracks that don't align with mainstream aesthetics is part of their persona management...
- Why should you care about what they write/creative freedom should not be restricted:
Yes, writing whatever kind of music is a personal freedom, but these individuals are the gold standard of the entire Japanese hardcore culture and doujin music culture. They are the primary way most people are introduced to doujin music or Japanese hardcore music. Imagine if you are a music enthusiast and the first music you encounter is like this; how would you feel?
Moreover, for Japanese listeners, CDs are the main way these people are exposed to doujin music. Many of them are not even good at using the internet. Imagine if you are a Japanese hardcore/doujin music enthusiast, bringing home a CD like this and listening to it; how would you feel?
For many Japanese doujin music and hardcore authors, the music produced by these individuals represents the development direction of mainstream Japanese hardcore music. If you listen to the early works of Hardcore Syndrome, you will find that these people defined the future development of J-core for a long time. Imagine if you are a diligent Japanese hardcore/doujin music creator and see that your country's doujin music/hardcore music is like this; how would you feel?
That's about it. If anyone has different opinions, feel free to point them out and discuss in the comments.