The end of the month draws near, and with that it's time for another stop for the Taiko de Time Travel anniversary project. As you can see from the preview clip above this lines and on the related announcement tweet, it appears that even Traditional Chinese and Korean titles are on the spotlight, too!
Nijiiro ver. New Track: May 27th, 2021
Key: red = series debut; blue = arcade debut
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4+1 no Sorezore no Mirai Taiko de Time Travel 00's/cosMo@BouSouP feat. Hatsune Miku 4+1のそれぞれの未来／太鼓 de タイムトラベル00's cosMo＠暴走P feat.初音ミク |
★? | ★? | ★? | ★? |
Just like last month, Taiko Team leader Etou is back with a custom title card for the newly-announced song and a brief interview with its makers on the official blog, with a side reveal of his renewed fondness for asparagus and pork rolls... Tasty!
With the offered English translation of '4+1 Myriad Futures', the maker of the latest Miku-powered Namco Original is none other than cosMo@BouSouP, already strong of his experience as a Vocaloid-commissioned artist for another Taiko milestone of the past, exactly 10 years ago.
The artist is really straightforward with the '4+1' part nodding to its the playable notecharts that may lead to 'a myriad of futures', so it's an easy bet to state how an Ura Oni challeng is next on the menu! He's also been really fond of the lyrics penned for the 3rd-gen-ending Taik-color, which is why part of those are also included in his super-high-speed piece made in order to let both donders and Vocaloid fans to look back at the scene's "history of the past" they might have missed. To further elaborate on this concept, we'll see you soon on this upcoming Saturday...
The artist is really straightforward with the '4+1' part nodding to its the playable notecharts that may lead to 'a myriad of futures', so it's an easy bet to state how an Ura Oni challeng is next on the menu! He's also been really fond of the lyrics penned for the 3rd-gen-ending Taik-color, which is why part of those are also included in his super-high-speed piece made in order to let both donders and Vocaloid fans to look back at the scene's "history of the past" they might have missed. To further elaborate on this concept, we'll see you soon on this upcoming Saturday...
Etou himself chimes back for a small interlude concerning the artist, expressing gratitude after the returning commission request for such an important milestone, with the 10th Taiko anniversary being greeted by releasing the infamous Hatsune Miku no Shoushitsu -Gekijouban-. Both the Vocaloid producer and Etou remember the song proposition like it was yesterday, while the former's impressions were penned for this blog post with mild fondness, the latter's point of view was more of an hectic one, rushing all music-celebratory accolades into a single Namco Original horse at first and feeling quite the high tension himself while asking such a high task to a big name in the Vocaloid scene!
We also have the pen-imprinted impressions of steμ, the notecharter for the song. For him, Taiko gaming as perceived by its fans is made up of a number of skills-reflecting moments that are seen by all in both past, present and future times. Seeing someone else perform Taiko sessions while being amazed at the sound, trying out difficult-but-cool passages in the hopes of being able to perfectly replicate them, actually performing hard bits with confidence while blending in the song itself, being able to be accustomed to multiple song genres after days and days of training,... stuff like that. The straightforward aim of steμ was to craft a chart for each individual mode that is fun to watch, fun to perform, fun to capture and fun to play, as some sort of "compilation course" for each of the game modes available, which is also why the charter hopes that those who can't make it don't feel discouraged and go tackle it at a later date with a more refined skill set, to see step-by-step how far their skill set may bring them to.
It's also touching how music artists may feel reciprocal respect for each other's craft, which is also the case for cosMo@BouSouP and steμ. On top of the already-addressed fondness for the Bandai Namco artist's Taik-color, steμ himself took a bit of space for thanking the Vocaloid artist for his overall production, whose melodies have been a source of inspiration while he was a teen all the way of his scholastic formation and up into a working position where he's able to produce for rhythm games, which is why he's doubly thankful for having part of Taik-color's lyrics set as the muse to forge his latest creation.
We'll be back next month when we'll get chiggy with the 90ies' sound, alongside one Zeami-shaped composer coming back for the Taiko de Time Travel project...
Link to original post
We also have the pen-imprinted impressions of steμ, the notecharter for the song. For him, Taiko gaming as perceived by its fans is made up of a number of skills-reflecting moments that are seen by all in both past, present and future times. Seeing someone else perform Taiko sessions while being amazed at the sound, trying out difficult-but-cool passages in the hopes of being able to perfectly replicate them, actually performing hard bits with confidence while blending in the song itself, being able to be accustomed to multiple song genres after days and days of training,... stuff like that. The straightforward aim of steμ was to craft a chart for each individual mode that is fun to watch, fun to perform, fun to capture and fun to play, as some sort of "compilation course" for each of the game modes available, which is also why the charter hopes that those who can't make it don't feel discouraged and go tackle it at a later date with a more refined skill set, to see step-by-step how far their skill set may bring them to.
It's also touching how music artists may feel reciprocal respect for each other's craft, which is also the case for cosMo@BouSouP and steμ. On top of the already-addressed fondness for the Bandai Namco artist's Taik-color, steμ himself took a bit of space for thanking the Vocaloid artist for his overall production, whose melodies have been a source of inspiration while he was a teen all the way of his scholastic formation and up into a working position where he's able to produce for rhythm games, which is why he's doubly thankful for having part of Taik-color's lyrics set as the muse to forge his latest creation.
We'll be back next month when we'll get chiggy with the 90ies' sound, alongside one Zeami-shaped composer coming back for the Taiko de Time Travel project...
Link to original post
