@Troni -
Don't forget Chrono Breakers!
I mean, NieN did come up with Someday, but that ended up on Trilogy rather than BS/CE.
I'd really like to know what the underlying factor behind the dichotomy of TR vs BS/CE was... it really was like two completely seperate projects which didn't even acknowledge each other.
I actually think I Want You, Y, Lover, SSSS and especially Coastal Tempo are pretty distinct distinct songs characterwise (although Y and Lover being slightly different repeats on BS vs CE can go DIAF), but I have a healthy appetite for House music, so that could be why. Honeymoon and DJMAX by Humming Urban Stereo, on the other hand are completely meh.
I agree that comparing two eras would best be accomplished via looking at overall songlists - but zooming in to see how individual genres are represented also sorta-works. Of course, narrowing down each genre to a single song is a little too far, but eh, does it really matter?
Speaking of End of the Moonlight, I would have likened TCBS to it for the overall style, the vocals and the MV theme. I originally ended up pairing PFW with Phantom of Sky and/or Memoirs (of all things - though they -are- somewhat similar in mood) but came to my senses since PFW really is one of those incomparable tracks.
Sugardonut is a somewhat subpar replacement for the rock side of old DJMAX (NieN). I mean yeah, not fair putting punk vs hardcore side by side, but Rock or Die, Rolling on the Duck, Road of Death along with NB Power/Returns were also definitive staples of the series.
Planetboom/Bexter were still pretty active, but when you compare Supersonic and Eternity (both songs which are kickass in their own right, mind you) to Get On Top, Starfish, Syriana (More funk than rock, but eh) something has just gone missing genre-wise. I guess on a brighter note Keys to the World, rushed or not, stands up to Brandnew Days.
We did have Zet and Mind Control, but again both of those went to Trilogy. BS only got the badly off-sync bastard child version of Real Over Drive instead.