UlasanAnime.com – This post delves into a nostalgic exploration of 90s trance music, reflecting on its enduring impact and personal connection to the genre.
The author expresses a sense of melancholy upon reading a tweet that resonated deeply, evoking a familiar feeling associated with the music.
You might also be interested in : Otakon 2011 Recap
This sentiment is not new, as the author recalls being captivated by I’ve Sound’s trance music long before, specifically mentioning Verge and the year 2000. The feeling of familiarity was rekindled by “Velocity of Sound” on Tribal Link-R, a track listened to on the same morning as the tweet. This track was later included in the album “Out Flow.”
The author suspects their exposure to I’ve Sound’s productions predates Verge, pointing to Key’s music being prevalent before the rise of Type-Moon. This era is remembered for Megatokyo’s relevance to the scene, with its unique blend of fantasy elements and genre-bending narratives, drawing parallels to modern works like Scott Pilgrim. The author also reminisces about appreciating Key’s character designs during that period, as well as other eroge that featured I’ve Girls on their covers.
The recent departure of KOTOKO from I’ve Sound is presented as a logical progression, given the label’s perceived decline in “HYPE.” KOTOKO’s solo debut with Geneon in 2004 was seen as overdue. Witnessing her perform “Suppuration -core-” and “Re-sublimity” live at AX was a pivotal moment, even though the author had seen it on DVD prior. The front-row experience at AX, and a subsequent performance in Toronto, solidified KOTOKO’s impact for the author.
However, the author notes a lack of significant developments since then, with KOTOKO primarily contributing to anime openings and endings. Overseas marketing efforts by Fuctory Records are described as half-hearted and largely unsuccessful. Other artists like MELL and those who followed a similar path did not achieve the same level of recognition as KOTOKO. Eiko-neesan took a hiatus due to illness, and Lia is pursuing independent projects. While Kawada still garners some attention, Utatsuki’s popularity has waned significantly. The author suggests that the I’ve brand has faced challenges, leading them to disengage after “Out Flow.” While the “Short Circuit” releases were appreciated, they lacked the trance element that the author favored, marking the 2005 concert as a turning point.
A renewed interest was sparked by the “Front Line Covers,” which sustained the author’s engagement until the present. The post concludes with a contemplation of returning to “Extract” or, in KOTOKO’s case, creating something even more remarkable.
