I had considered making a video before, but since a column is a better choice, let's talk about it in the column. The only problem with the column is that it doesn't allow quoting audio files, so some parts are a bit tricky to explain. Of course, I don't expect Bilibili to add this feature anymore.
Normal1zer - Pixel Rebelz (The Operation Remix)
Submission Reminder
The ID for this Remix was created even earlier than the entire The Silent Xosmos. At that time, I made a whole Drop and sent it to supa, but he didn't listen to it at all.
Fast forward to the end of October last year, after my computer exploded, I went on a trip to Suzhou and Hangzhou. After returning and fixing my computer, the first thing I did was submit the SX manuscript.
(As you can see, this didn't happen.)
Then at the end of November, I finally got to work.
Music Section
Overall, the Hardstyle part is very conventional; I mainly wanted to revise this track from 2018. So if you have any questions about the track itself, feel free to ask me. Interestingly, I included 15 of supa's tracks, so if you're interested, you can find them slowly.
At the beginning, I stuffed a bunch of meme sound effects in; I wanted to create that feeling of a meme video that crams 100 memes into a few seconds. If you watch memes often, you probably know what I mean.
For the first Kick of the last Drop, I originally wanted to make it like Yuta Imai's Arcade, but in the end, it turned out to be something else, which is also nice!
That's about it. Lastly, I initially planned to call this RMX
But it felt too troublesome, so I gave up.
DJ Momo - Senbon Zako
Submission Reminder
Originally for the original song part, I wrote a Chinese love song, but my hard drive exploded, and I didn't want to write another one in a short time. So, in December, the deadline was delayed again, and at this critical moment, I
went out to play again.
I spent Christmas with the main organizer.
When I got back, I really couldn't delay any longer! But what to write?
At that moment, the C103 album was gradually leaking, and I heard BrightFreaks' SaltyFreaks.
I was thinking, what was I doing five years ago, in 2018? At that time, I hadn't started composing yet, but I really wanted to write a t+pazolite track. I had downloaded a DAW and fiddled with it for a while, but the results were terrible.
Later, due to various coincidences, I started to seriously learn Music Production. Five years later, I returned, and I was finally capable of creating what I wanted.
So, a t+pazolite-like track was written down on my plan.
After writing it for a while, the main organizer said
Actually, I did reference a certain song, but it wasn't this one; it was
There was a lot of buzz about a certain Spring Festival Gala BGM plagiarizing Senbonzakura.
Regarding the topic of plagiarism, I previously shared my views on this matter in my posts, and I might discuss this topic further regarding this song. My thought at that time was that since Senbon and Bon Bon are quite similar, we might as well go along with it.
Then came the naming phase; Senbon was already confirmed, and I originally planned to follow it with a three-syllable word starting with "za," but I couldn't think of anything good.
So it became zako, which also fits the theme of the song perfectly, and thus this song was born.
About Plagiarism, Reference, and Similar Matters
What do you mean it sounds like Senbonzakura? Listen to the melody of that Drop section and think carefully about the beginning of Senbonzakura. Hmm, it does seem a bit similar. But if I don't bring it up, I don't think anyone would notice such a thing.
These are a few things that I think people who don't participate in creation find it hard to understand.
- If I reference a certain song or work, as a mature music producer, I can completely process the track into my own style, erasing previous elements and replacing them with my own. I can now say that my first Remix referenced Primeshock's Cheat Codes, but if I don't say it, no one would know, and even if I do, you wouldn't think it sounds that similar.
- As a natural person, your creation, whether you like it or not, will be influenced by the works of others. I've seen many excellent tracks where the authors felt their work resembled someone else's, leading them to change originally great parts into something less impressive, which is really a shame.
I know many people haven't heard of Bon Bon Festa; it's a less famous track by t+pazolite in DS's RADIAL.PERIOD.05. It was so obscure that even after a day of the preview release, no one pointed out the similarities between the two. If I don't mention it, many people might not notice. Even though you can clearly hear the mutual influences while listening, you can still feel that these are two completely different tracks.
I remember a long time ago, when I still watched the Bilibili New Year Festival, there was a track that was also said to have plagiarized Senbonzakura, and the comments section was lively with various analyses and score breakdowns, but in the end, nothing came of it. This is also the outcome of most music copyright disputes.
The current copyright system means that unless you directly quote someone else's audio, it doesn't constitute infringement. While you listen to various Mashcore and Lolicore, you see all kinds of plagiarism and don't you think this system actually protects very little property rights?
I once saw a producer whose method was to take three songs, extract harmonies, structures, and ideas, and create a new track. Does this count as plagiarism?
On one hand, we need to ensure that music property rights are not infringed, and on the other hand, we also need to allow creators to work in a free environment. So how should we do this? This is also another reason I chose this name for this song, so I hope everyone thinks carefully about this issue. If you're interested, feel free to discuss it in the comments.
Of course, this article is not meant to delve into such profound issues, but I recommend those interested to check out Adam Neely's videos on plagiarism and music copyright. He proposed a solution that everyone must point out their sources of inspiration when releasing music. This seemingly unfeasible method, if you think about it carefully, might actually be the only solution that balances both positions, although this solution could never be practically implemented.
Music Section
Actually, I had planned to make an EP Reply to X Girlz, to analyze this doujin composer I loved the most in my childhood, but it felt too purposeful, so I gave up. However, we can talk about this song, which represents a period when t+pazolite had just started his full-time composing career. The sound had basically shed the old-school rave feel and began to gradually draw inspiration from various kinds of music. If the production has that period's t+pazolite vibe, it's characterized by a strong call-and-response tendency in the melody, which I discussed in a video I translated before. The sound actually uses some very representative mainstream EDM sounds from the mid-2010s, and also vibrato.
This track also contains various Easter eggs. I'll mention one that many might not notice: the snare fill that appears frequently in my song actually comes from Kinoshita's famous track アユミ☆マジカルショータイム，which you can hear at the beginning. There are also various Easter eggs from Shuriken; if you're interested, you can look for them. (It's also a kind of callback to the track.)
Axya & DJ Momo & system [Σ] feat. Hoshikuzu Infinity - Unity and Rave (The Silent Xosmos Anthem 2)
Initially, the three of us wanted to write a powerful stomp with a strong s3rl feel, so Axya was responsible for the overall structure, I was in charge of the vocals, and Sonic (also known as system [Σ]) was responsible for the harmonies and melody writing. After finishing, we put it together and found that it didn't fit at all! Sonic's part was too emo, feeling like an anime opening.
Then everything started over, and it eventually became the track we have now.
I also made a DJ intro with the separate tracks and crafted a kick in the middle (though I wanted to make a kick like Act of Rage, but it didn't turn out very similar!).
In short, it was produced safely, which is a pleasant surprise. Below are the lyrics I wrote, with the theme being how we all connect through Hardcore Rave:
in the crowd, I just alone another mark in the darkness, searching for a spark I stretch out my hands reaching for the songs But my heart is still entwined with the past，with the past
Then a sound，through the void Connect us from nowhere and everywhere Those Melody Groove and Beat Come to me and save me Lead me to the world full of Fanta sea and glee When we gather together，When we rave together just pure happiness of laughter, swirling through the air When we gather together，sing together We create a sound of unity and love unity and rave（rave till we die）
Postscript
This major album really took a year to complete, and we went through many things we never expected. However, when the final product came out, everyone felt very gratified. I hope those interested in the entire Chinese doujin HDM do not miss this album.