Japanese

Heartfelt thanks to everyone who made it to the inaugural twitch stream, especially after social media did its best to keep people away. Even the last-ditch Facebook posts on the day were being hidden away, which wasn’t much help to the mostly European crew who had shown interest in the cancelled edition a few weeks ago. Lesson learned though, and from now on I’ll be relying more on here, lesser-of-two-evils Twitter, and twitch itself for announcements. Special thanks to the Japanese crew and TYFTH regulars who managed to find their way to the stream, it was utterly great to see you all.

I have uploaded the video for anyone who missed it though, with some very minor edits to cut out the soundcheck and some silence at the end. I was tempted to go down the titles/captioning route to spruce up the presentation a bit but that’s possibly going a bit far for what was supposed to be a pretty casual set.

In the end we made it to just shy of two hours, which was quite a surprise. I hope everyone enjoyed it, and if I seemed slightly subdued it was mostly thanks to having to keep more of an eye than usual on some new technical stuff. I tend to be as much of an arm waving loon during practice at home as in the club but didn’t want to hit one of the four screens I was surrounded by…

Anyway, the set was great fun and was reasonably on-brand for me considering it wasn’t planned to the usual extreme degree. I’ve noticed that winging it completely doesn’t really work as the transitions will be shorter and/or less interesting – too many of them and it starts to sound less and less like one of my mixes. Dug my own grave there, it seems.

Finally, I was glad to see the visuals went down well with everyone. What with it being a twitch set I really wanted some way add some visual interest and a live, interactive feel, and this seemed a pretty successful first try. Might be an idea to lower the room lighting next time for that authentic, cramped club vibe.

Stay tuned then – I’d like to manage one of these sets each month, but it’d be nice to stream some practice runs and other genres in the meantime, too.

Tracklist

01. Turmion Katilot – Verta ja Lihaa (Proteus Mental remix)
02. Lab4 – 4 Those About 2
03. GULD – Nightmare Freak (2009 remix)
04. Lab4 – Candyman (GULD remix)
05. Marilyn Manson – Resident Evil (J-Gear bootleg remix)
06. GULD – Hannya (Android Lime remix)
07. Lab4 – Perfect Drug
08. Hatsune Miku – Senbonzakura (GULD remix)
09. Alek Szahala – Ziggurat
10. Zio – Hell’s Gate (PlasmaDancer remix)
11. Alek Szahala – Dryad Machine (GULD remix)
12. Morita Yuuhei – Redemption Song
13. Cyrez & Sam One – Reboot the System
14. GULD – Gozenzeuna
15. Twisted Freq – Rougher Than You
16. Alek Szahala – Caballo
17. Betwixt & Between – Surendrajit (2011 refix)
18. Nomic – Rule Breaker
19. Betwixt & Between – Like a Flame
20. Nomic & Pain on Creation – Make Me Real
21. Eryk Orpheus – PVC
22. Proteus – Venla
23. Proteus – Venla Part 2
24. Cryobiosis – Serenity

A quick reminder that the rescheduled TYFTH twitch stream is happening tomorrow, which might be especially necessary as our old friend Facebook is limiting visibility of yesterday’s announcement. The set will definitely be longer than the usual event appearances but I’m not sure by how much – I was trying out a few mixes yesterday but I haven’t got a fixed tracklist in mind. Let’s say longer than one hour but probably less than two.

This’ll be a test run, but I’ll be aiming to iron out any sound issues and tinker with the visuals for a few minutes before the official start time. I’ll do my best with the multitasking to keep an eye on the chat, and it’ll be great to see anyone who’s able to stop by.

As I’m danger of falling behind recent big announcements I’ll break with tradition and catch up with a few of the main ones in a single post. Good training for the hopefully regular appearance of some longer writing on the site this year, too.

Heading the post is the opening track from Proteus’ upcoming artist album. Rather than NRG or anything like it, instead this sounds very much like something that could have appeared on Platipus back in the day, which is of course high praise. The second track, Gute Nacht has also gone online and shows a more familiar darker style – if the previews maintain this standard then it’s going to be quite the release. Plus there’ll surely be some older-school, pacier tracks in there somewhere.

Possibly the biggest freeform announcement is the recent release of Future_Proof Sounds’ second compilation, a strong collection of tracks with Japanese representation from Hyphen and Kokomochi. Kokomochi’s If Not Machine has shades of ikaruga_nex and is a fine follow-up to Iron Sky.

We’ve also got another label entering the scene in the form of Skeny Tracks – it might lean towards melodic freeform and UK hardcore but the first release Retrofuture features a really impressive selection of newer artists from around the scene. Hyphen’s here of course, but watch out too for Sanaas’ Beastout.

Finally for now is an excellent hour of mixed tracks from BRK. Featuring a full tracklist of his own material plus a solitary remix, this is quality stuff and another clear step up for his productions. The collab tracks with GULD and NEON give the set some welcome variety, while Kaos Lodge is one of his strongest tracks for some time and a well-chosen finale.

Let’s try that again, shall we?

Obviously I’d like to offer some huge apologies for cancelling the twitch stream at such short notice – and not even officially cancelling it here, as the couple of lines on Facebook were the very best I could manage at the time. Late on Saturday I managed to get some pretty severe food poisoning that put me completely out of action for a couple of days. An extra nice combo with the remnants of jetlag, as you can imagine…

Anyway, as the first set I’ve ever missed for any reason I’m pretty keen to make up for it ASAP. The plan is to reschedule for 10 days from now, once again at 19:00 JST. I’ll do some wider word-spreading nearer the day, but wanted to update everyone here first.

Before that I’ll be trying to catch up on a few things I’ve had planned, as well as continue with some minor and not-so-minor additions to the site. I’ve been thinking that it would be nice for TYFTH to do a better job of archiving and referencing info, both for Horsers and myself, so that’s something in the works alongside all these other posts I keep mentioning.

This would be another of those things that have been planned for an age, but what with 2017 being the first year without a club set since 2008 it’s probably about time to spring into action. Even if Shimotsukei levels of activity are a bit unlikely, I’ll be aiming for at least one set a month, starting in January. Part of the thinking behind it is to keep me match fit for any sets next year, but also just to get me back into the swing of planning event-style mixes more regularly.

Right now I’m away from TYFTH Towers, but once I return to Japan there’ll be some action on what are usually the end-of-year posts. January will tentatively see the twitch stream, the 2017 top mixes (and hopefully tracks), along with a couple of other things that have been delayed for a while. And while 2017 wasn’t the easiest time for all sorts of reasons, TYFTH will definitely be a bit more active come the new year.

If you’re in the market for some melodic freeform then Nonaka+Chin’s FutureProof Sounds set might be a good one to check out. I often think of Nonaka as the Midas of the Japanese scene – his mixing level, thoughtful selection and taste for the Finnish sound alongside the UK freeform means there’s always something to enjoy.

This one is excellently mixed with some nicely considered transitions, and even if there’s a lot of UK freeform that I can’t name (not laziness, there’s actually no tracklist here) the set is also a fine showcase of Japanese tracks with artists from ikaruga_nex to Hyphen, via Alabaster’s Galaxy. I found myself wishing for some darker sounds but that’s clearly not what the set is aiming for – instead this is the place for some well-selected melodic highlights of the current scene.

PID has been near the top of the now-lengthy ‘promising newcomer’ list for a while, so it’s good to see him making some even bigger strides this year. We Are Finally Here is a contender for his strongest track so far, with one of the best structures I’ve seen for a while.

Give it a listen all the way though and if you’re anything like me you’ll be more impressed the longer the track plays, particularly post-halfway. The Nomic influence is there from the start, along with plenty of other touches that point towards various flavours of FINRG. Filters and a strong opening melody are all well and good, but when the breakdown first appeared with some percussion to add interest I was afraid that was where things might start to tail off. Not a bit of it – instead a lovely distorted lead goes straight into a Carbon Based-esque filters-and-kick drop, followed by a new spin on the main melody that has the track flirting with very high level territory.

The production isn’t at those same levels just yet, but this is still an excellent track that bodes well for the future, especially now that PID seems to be thinking about putting together an album of his own material.

Although a heroic effort at turning NRG into an acronym was the first thing I noticed here, Japanese label Masamune’s Neologism Raving Generator might actually be one of the most important freeform albums of the year. It’s also another one that should have decent appeal across the whole scene.

Most encouraging is the sight of some new artists stepping up with some very high quality production – Nizikawa’s Ebrietas might be the track that finds the firmest middle ground between uplifting melodies and the more aggressive stuff. The majority of the tracks have most in common with the sound of the UK scene, though there’s a definite J-Core influence to some of the melodies that comes out especially in a couple of polysha’s collab tracks, Omniverse especially.

Sanaas’ PALLADION sounds like a really impressive uplifting track, while Hyphen’s Meaningless C.O.D.E. is one of his strongest for a while, at least to my ears. Unsurprisingly it’s Morita Yuuhei’s Redemption Song that’s my early favourite – the moment I heard the preview I started running through set ideas. I shall definitely be using that one.

Neologism Raving Generator was released at last weekend’s M3, but it’ll likely follow the lead of Psychic Formers and eventually be available online.

update: The CD is now available via Diverse Direct and the Tano*C Store. I’d recommend the former – just after placing an order I noticed the ‘For Oversea’ section with an unusually clear guide in English. Postage abroad seems pretty steep if you’re only ordering a single CD, mind, so it might be a thought to add a couple more to the basket.

I really wasn’t expecting this – a tribute to Buzzmasta that well and truly does justice to his varied sound, as well bringing some deserved attention to one of the most important names in the Tokyo hardcore scene. Once again we’ve got Shimotsukei to thank, which of course means impressive mixing and plenty of obscurities in the tracklist.

Those familiar with Buzz’s back catalogue will know that he covered the full hardcore spectrum in his productions, nicely reflected here in a mix that goes all the way from happy hardcore to Full Circle freeform anthems. I was expecting Shoreline as the opener, but after that almost every other track (at least in the first half) was something new to me – I always loved how Buzzmasta hardcore had far more of the 90s spirit about it than most of the UK hardcore you hear these days, and the ‘happier’ section of this set is just what I was hoping for.

One of my favourite tracks, For Action, links very nicely with Sing to Me, effectively introducing a harder final third that brings back plenty of memories of Buzzmasta and Yousuke at NRGetic Romancer. Shimotsukei pulls out all the stops on the section, finding some lovely transitions to keep things pacy – Equinox into Euphonica is especially nice. Most will know that Full Circle tracks were also Buzzmasta-produced with suggestions from Yousuke and Cogi – the hyperactive (and lengthy) filtered sequences in Gate Crasher and Halcyon are good examples, and both thanks to Cogi’s cajoling. The Full Circle material is also an impressive example of his range, then, with Alchemy perhaps my favourite track that finds a comfortable spot between the two extremes.

Even putting aside the emotional aspect this is an excellent Shimotsukei set, but as a tribute to one of the kindest, most genuinely nice guys in the Japanese scene it’s even more special. I’m sure that Buzz himself would have absolutely loved this one.

Later this month sees the sudden, surprise release of an very promising remix album, courtesy of Kokomochi. This is actually another freeform take on ZUN’s inspired soundtracks for the Touhou series – the emotional melodies are made for freeforming, as we’ve seen in goodness knows how many past compilations.

Kokomochi looks to have done a spot-on job of adding some aggression to the tracks, thankfully sidestepping the jolly style of some hardcore remixes I’ve heard in the past. Instead there’s plenty of melancholy here (see my first-impressions favourite, White Heron), along with some quality track progression and an impressive level of production. The tone overall strikes the sweet spot between freeform’s various camps, with some UK-style fills and effects combining nicely with nastier Finnish filtering.

As things stand the release is only announced for this month’s M3 event, but I’ll update as and when any other release info turns up.