Their songwriting IS fantastic, which is why I do enjoy much of their output. I didn’t think Don’t Let Me Go was as strong as it could’ve been (the traditional hit-synth was a tad too quiet, methinks), but it certainly has its merit and is a welcome addition to Leo River’s catalog.

I have never really understood people’s beef with GGM’s synths – so they use similar sounds a lot…they certainly aren’t the only label. And anyway, when the sounds coming from the GGM studios sound as fab as they have done during the 190’s, I say bring it on – at the risk of sounding like a fanboy, they can do very little wrong in my eyes with their current songwriting team pumping out such excellent riffs and melodic structures. Ultra Mi-Ha Deluxe and Don’t Let Me Go are two of the best Eurobeat compositions I’ve ever heard… period.

I agree that some labels seem more frustrated than others, but I’m not ready to suggest that ABeatC is lacking in the creativity department. In fact, I have to commend their willingness to experiment with different sounds (they did much of this after the GGM schism). I’ve also been impressed with Dave’s entries in particular, as well as recent entries such as Pirates, Fire Dragon, and Dance In My Town. Heck, even “Give Me Sunshine” showed some creative spark (though I simply cannot say the same thing for I’m Superstar). Also, consider that for all of Pasquini’s alleged rehashing, he’s used more than one synth riff sound in the last SEB decade. That IS more than GGM can say.

And, something to think about— it’s VERY hard for a genre to die to the point of never being utilized again. Jazz is no longer mainstream, but it still receives plenty of attention. Rockabilly is no longer the big thing, but it still has its niche and fans. My point is, a genre is only dead if people refuse to write in it. And, from the looks of things, we have many interested and inventive minds still writing in it, from the veterans to the newcomers.

My interest in the Eurobeat scene has never been stronger than it is at this current stage. A lot of that is down to my moves into the original production side of things which has helped me rediscover my love of songwriting and composition as a whole. However, there are certain labels that appear – in my eyes anyway – to be more motivated than others at the moment.

Take GGM for example. Love them or hate them, no-one can deny that they have a very strong and experienced production team behind them, as well as some of the veteran vocalists (Gobbi, Gatti and Marin) in their ranks. Combine them with the new talents of Mari-San and Leo River, and I just can’t agree that they are merely producing the same old Eurobeat that Pasquini pumps out at A-Beat C. While their productions have vigour and bags of energy, Pasquini more often than not ends up producing rehashed sounds and fairly lacklustre productions (perhaps his rock side project has diverted his attention away from the Eurobeat scene somewhat).

Anyway, it’s easy for us Western fans to forget that there is still a massive J-Euro fanbase out there as well – and even the FARM records umbrella seems to have a more noticeable mainstream presence in the large music shops I visited in Japan, suggesting that there is still the demand and the market there – however small – for Eurobeat. Everyone seems very quick to sign the death certificate of Eurobeat, but why should it be that way? Just because Avex put out 3 nonstop albums? Just because there is a 6 month hiatus in the SEB series? Hardly…

Sure, Avex could make it much easier to purchase Eurobeat, but the fact remains that as long as there are fans such as myself, zoupzuop2, Jay, #Infinity and many many more on forums such as EBPrime.com, I fail to see how the genre will ever completely die.

I disagree that SS and GGM are kicking out the “exact” same Eurobeat, OR that there are the same amount of singers/writers. Don’t forget that some names that had no intentions of coming back (Nando, Nuage, etc) DID come back, along with newcomers like Mari-San and Leo River at GGM, and Capaldi & Company with Delta introduced a few new names (Mmmm, Kimmy~). That already puts that idea down. As well, GGM has a VERY distinct sound in comparison to ABeatC (in fact, GGM seems to have ONLY that sound), so I hesitate to say it’s any sort of mere “sublabel” instead of their own, standalone label with its own brand of creativity. As well, Bratt Sinclaire has begun to vary his production/soundworlds somewhat in recent entries, finally escaping that “HAY LAWL ITZ ECHO-Y AND REVERB-Y WITH SYNTHS THAT ARE SOFTER THAN FAIRY SILK” sound he had in entries like Let’s Go Wild by Niko and Power of Loving You. They are NOT the exact same as they were in the “Delta” years— similar, yes, but not the same.

I’m not saying every label should split up into little splinters (it is, in fact, rather sad that such things had to occur to begin with); rather, suggesting that because these producers that “split out” decided to stay in the industry somehow, instead of leaving it for something possibly more lucrative/profitable, that Eurobeat stands to last a bit longer for it. We continue to receive the fruits of their creative labors. Would you rather Sinclaire remained in sabbatical, and that Gatti & Oliva left the industry for good out of frustration? Or would you rather they continue to create?

“In the Avex/SEB camp ALONE we’ve seen increases; from what once was simply ABeatC, Delta, Time, Hi-NRG Attack, SCP, Vibration and BBB, we’ve now made the jump to ABeatC, Go Go’s Music, Delta, SinclaireStyle, Eurogrooves, Hi-NRG Attack, SCP, and Dima. If we consider Dima and Eurogrooves as replacements for Time and Vibration respectively, we have a two label increase (Go Go’s and SinclaireStyle).”

You seem to consider the surge in the number of labels a good thing, but I don’t. Let me cast a different light onto the situation.

Can you recall why Go Go’s Music and SinclaireStyle were created in the first place? That’s right – it was due to factionalism among producers within A-Beat C and Delta respectively. You don’t need to look far to know that Newfield and Sinclaire very much hate each other’s guts, and the relationship between Mr. Pasquini and Ms. Gatti is less than amiable, yet still workable considering GGM is still essentially part of A-Beat C. But honestly, talk about tossing more fuel into the fire by creating unneeded animosity between labels!

GGM and SS do not constitute a ‘two label increase’ at all. Oliva and Gatti are still creating the exact same kind of eurobeat they did at A-Beat C, just under a different name. Same with Sinclaire. You still have the same amount of producers, writers and singers as before GGM and SS were formed. Maybe even less now. You need to look beyond the fact that there are two “new” labels and realise that nothing has really changed.

So tell me. How do you consider these factions ‘good’ for eurobeat?

Just watch. Soon enough, you’ll have even more producers breaking off from the bigger labels to escape the iron hand of competing producers within that larger bloc. I don’t know how you could possibly consider that a good thing; it screams ‘divisiveness’ to me.