TWMIX-006 is my personal favorite. I feel it is pretty definitive in showcasing my music taste and style as a DJ. There are a few imperfections, but they’re not the kind that will make you boo at the DJ, and walk out, I hope. When thinking of a new set, I would refer back to this one, listen to it, and sometimes go, “I would have set a cue point here instead / I would probably make this transition differently / Maybe this track would have fit better were it in this order,” and things of that nature. Then, I would take such thoughts and apply them to the current project. As far as music selection goes, it’s a bit of an odd hybrid between the J-Core Remix!! name and the Hardcore nature of HHHD if you happen to remember such a thing.
The set list is composed of J/UK-Hardcore songs that are both original and Anime song bootleg remixes, but there is also the addition of Frenchcore, Hardstyle, Gabber/Mainstream Hardcore, and Speedcore. TWMIX-009 was developed in the same way, but with improved playlisting. During this time, I discovered Lilium Records’ exceptional discography and decided to feature that, as well as include recurring artists from my previous mixes. The extended mix of Ryu’s “We’re so Happy” also made it in, and not only did the full video make it to Youtube, but free from Copyright Strikes and Content IDs. It’s a miracle.
Speedcore is an odd case. The composition is similar to that of any J-Core song, be it UK-Hardcore, Hardstyle, or what have you, but it has breaks where the kickdrum plays 16 times per bar, resulting in around 700 BPM. In practice, it can sync anywhere from 170-200 BPM, so it is actually not that difficult of a case to transition to and from it. Hardstyle is the difficult one in this case, because its BPM tends to be 150, so I use different methods to transition through it halfway into the set, when the current BPM may be 175 or more before it. For TWMIX-006, “Come on Over – Massive New Krew & DJ Myosuke” has the kickdrum hit near the beginning of the track at the breakdown of the melody which has a vocal sample, so I begin playing it from that point as I move the fader on my controller to signify the transition has started. I think it worked out well, but words don’t really describe how I did it. You should have a listen instead.