True Left

"these are my examples"

I painfully listened to all of them and came out the other side proud to not share your tastes.

"would you rather prefer the Counterculture influenced examples where Electro House progressivism didn't influence the composition yet?"

I do not consider any of your examples to be discernibly Counterculture-influenced.

As far as I am concerned, the last respectable Jpop artist was:



Romantic magnum opus (healing my faith in true love since 1998):

"Do you consider Yellow Magic Orchestra to be Counterculture?"

This is complicated. In terms of motivation:

they were "tired" of Japanese musicians imitating Western and American music at the time and so they wanted to "make something very original from Japan."[49]

but this ironically made YMO more widely known in the West (due to implicitly Orientalist audiences seeking exoticism):

performing to sold-out crowds during tours in the United States and Europe.[6] The single "Computer Game" had sold 400,000 copies in the United States[6] and reached No. 17 in the UK Charts.

than many of their contemporaries whose more locally limited audience led to them ultimately typifying Jpop to a greater extent in the long-term. This is a recurring phenomenon throughout non-Western pop culture:

1) A producer in a Westernized country tries to be non-Western.
2) Orientalist consumers in the West like the product because it (trying to be non-Western) feels exotic.
3) Eurocentrist local consumers observe the producer's prestige in the West and consequently overrate the producer.
4) The producer, in order to maintain their overrated status, ends up catering more to consumers in the West than to local consumers.
5) The local consumers (continuing to overrate the producer) accept this and hence end up adapting their tastes to match those of their counterparts in the West.
6) Thus the producer who set out to be non-Western ends up Orientalizing the local consumer market instead of genuinely nationalizing it.

But Perfume isn't to blame for their music. The blame is their producer, Yasutaka Nakata. Perfume has had some songs that weren't made by Nakata, which were 'Omajinai Perori', 'Kareshi Bochuchu' and 'AkihabaLove'.

BTW I'm listening to a 1996 album by MAX (Chinen's girl group), and it's good.

"does Drill have that 'spirit' you described in pre-colonial aesthetic superiority?"

Whet Moser wrote that Keef's songs are "lyrically, rhythmically, and emotionally diminished, which is why they sound so airless and claustrophobic ... It's not even fatalistic, because that would imply a self-consciousness, a moral consideration, that isn't there in the lyrics. It just is, over and over again."[25]

"If going to the country isn't your way of finding good artists, then how do you find good artists?"

Nowadays with YouTube etc. it is easy to find most stuff online, but back in the 90s I mainly relied on radio and TV shows, as well as sampling booths in CD stores.

"MAX (Chinen's girl group)"

No.

"Wait was it the same Rina?"

There is no Rina in MAX. There is a Lina and a Reina:




neither of whom are the same person as Chinen:



The closest Chinen came to collaborating with MAX was a compilation:

https://www.discogs.com/master/1333715-Various-Velfarre-J-Pop-Night-Presents-Dance-With-You

which wasn't much good anyway.

Since you gave examples of both Western and non-Western games in both Counterculture and post-Counterculture eras here:

https://trueleft.createaforum.com/counterculture-era/recommended-games-to-play/msg19217/#msg19217

The same divergence can be seen in wrestling games.

1990s Western:



1990s non-Western:



2010s Western:



2010s non-Western:

What would be your examples in music (both Western and non-Western music from both 1990s and 2010s)?

Edit: Since you were mentioning wrestling as a game genre, I was thinking of suggesting a music genre. For example, Electronic Dance Music.

D&D, though where that sexist Eurocentrist Nakata got its influence for Perfume's "Techno-pop" concept, sounded much different from Perfume. D&D has more emotion and simplicity in their music, and not to mention it's much neater and higher quality than Perfume's music.

There's a practice in Western classical music that has revived in the EDM scene (which probably came from Aristotelean philosophy). Tension and release. Where it is the duty of a viewer to judge art for what it demonstrates, tension and release (also known as the build and drop in EDM culture) is an auditory illustration that makes it difficult to judge the demonstration, which lies the artist's intent to manipulate our reactions (Jewish tendency). On the other hand, I'd prefer it if it was done to demonstrate a song's value or to narrate a play or movie (which most of the time, it doesn't).

D&D, despite their music's genre being EDM, had less tension and release, which makes it easier to judge the emotion in their music.

"I like this approach (as opposed to everyone doing their own ads) as [sharing ad space] generates an atmosphere of solidarity between artists."

Not to mention it requires less work to put up. Living with roommates demonstrate the same purpose since it builds an alliance between the people living while requiring less work to live in (which both practices suit well for:

https://trueleft.createaforum.com/issues/simple-living-movements/

).

"Had it tried to continue, it might have been pressured to adapt to subsequent trends."

Then the quality of their music stood out.

"I don't think this is a good comparison. Serious artists typically need a lot of privacy. Arranging for them to live together would lead to all kinds of extra trouble."

I see. It does seem less stressful for an artist/viewer to be alone, that way they can only deal with the art. As for me when I have space and listen to music or enjoy art, I do have a vivid imagination, and when I sense something that does not fit in with my music and imagination, I feel quite disturbed.

Maybe people destined to be artists probably shouldn't have roommates, that way their spiritual quality improves at their pace.