Not Enough 16plus!

This work, "Not Enough 16plus," is the best work of the end of youth. It encapsulates his musical journey and the emotions he's experienced during that era. The charm of end of youth's music lies in its "blending power." Instead of imitating his musical memories, he sublimates them into new works with a unique texture, creating a harmonious blend of nostalgia and freshness. This exquisite sense of balance is the core of his music.

As someone from the same generation, I can assert that this work is the best masterpiece. We've shared the same era, culture, and air, making us naturally understand his music. The similarities between his music and mine are surprising, resonating with me as "sympathy" more than just music.

In this work, end of youth's musical roots are combined at a high level. Electronic music of techno and house, the shock of hip-hop's dawn, and "fragments of sound" from games, anime, and television all breathe in one work. This is perhaps a point of his career and a new starting point. The relationship with electronic music is crucial, especially for our generation, as the appearance of the NES was decisive.

I grew up in an environment where electronic music, particularly the "pico-pico sound," was accepted as music. The advent of personal computers led to the development of DTM, with electronic music production tools becoming accessible. These changes are directly related to my musical background. During adolescence, I witnessed the emergence of Japanese hip-hop, which introduced new beats, wordplay, and sampling innovations that deeply impacted our generation.

End of youth is an artist nurtured by the times, born from the fusion of electronic sound and sampling with "danceable beats." The "danceable beat" in their songs is not just a rhythmic notch but a story told eloquently like a melody. It features a "living rhythm" with sudden syncopation, stacked hip-hop-like breaks in house-like loops, and occasional shaking and bouncing that moves the listener's body. It's like a "conversation" between the performer and the listener.

Sampling is crucial to end of youth's music. They don't just quote old records; they cut out sounds from phrases and place them in the gaps of the beats, creating a new meaning. Their passion for "digging" and greed to incorporate fleeting sounds into their worldview are evident in their music, which strongly conveys their respect and love for sampling.

This music embodies the essence of youth culture, blending the pleasure of gaming and club culture with the learning of hip-hop. The integration was organic, born from his memories and physical sensations. It's an album that evokes the roots and memories of youth.

The electronic sound and sampling are not mere imitation but a renewed future through meticulous beat-making. It's not about consuming the past but re-editing it and passing it on. He challenges to rebuild their era with sound.

The title, "Not Enough 16plus," is provocative and unfinished, saying "it's not enough yet" and "I'm not over 16 yet." It suggests a "boy's day," the root of his music. Even older individuals refuse to mature and want to continue evolving, as expressed in determination.

This work is the best yet, but it's only a passing point. I eagerly await the future evolution end of youth's music.