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#251 Edited by Wemibelle (2633 posts) -

Got a lot going on right now, so I figured I’d do a quicker post this week that focuses on new releases from artists I’ve already covered in detail. These are all releases from the last month or so, and each of them is excellent in their own way. I hope you enjoy them!

Umarvelous - Monkey Majik (2018)

This is a marvelous disco-inspired track from Monkey Majik as a collaboration with Japanese comedy duo Sandwich Man. It’s a supremely catchy song with entirely stupid lyrics that I recommend looking up. The video also GOES FOR IT in every way possible, nailing the retro look and costuming perfectly.

Harbor - Koutei Camera Girl Drei (2018)

Another fantastic recent release from Koutei Camera Girl Drei, maybe even better than the last one. The beat is so...damn...good, coming pretty close to the greatness that was Swallow Maze Paraguay. Paired with the hypnotic flow and nicely repeating vocals, this is a song you do not want to miss out on.

Dual Harmonics - toe (2018)

I believe Toe to be one of the greatest modern math rock groups and this track (off their newest EP) certainly supports that belief. It’s a gorgeously intricate song that just gets better and better as it builds, before gently fading into silence as the song ends. If you haven’t checked this group out, now is the time to do so.

Future Pop - Perfume (2018)

Another Perfume release for 2018. While I found the main rhythm of their previous release to be more creative, I think that this is a much tighter song overall, with stronger vocals and some great energy. I certainly would call this a “safer” song, falling back on the same tricks that Perfume has used countless times, but I can’t say that this isn’t a fun, catchy release.

Ironman of Rap - Rhymeberry (2018)

Rhymeberry is back as a trio, with new(ish) member Yuika, and and they have a new track. This is a great rap song with killer flow delivered at blinding speed from all three of the girls. The verses are always fantastic, but the chorus sadly falls a bit short for me due to a lack of catchiness and a weirdly intense instrument sound mix. Still, the verses alone make this worth a listen.

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#252 Posted by Wemibelle (2633 posts) -

For this week, I just decided to go with three songs from 2018 that I’m really enjoying. Hope you enjoy them too!

Hitchcock - Yorushika (2018)

Yorushika has two “main” members, n-buna (guitar + composition) and suis (vocals), but they also utilize some support musicians to add extra instrumentation--Mitsuru Shimotsuru on guitar, KITANITATSUYA on bass, and Masack on drums. n-buna started out composing vocaloid tracks as VocaloP, earning a fair amount of renown on sites like Nico Nico Douga. There’s not much out there about suis or even how the two decided to form Yorushika together, sadly. They’ve only been around since 2017, but they’ve already gotten a lot of attention because of their diverse songs and striking music videos.

Hitchcock is a track off the Yorushika’s latest album and is probably my favorite. suis’ airy style of singing here is beautiful, and her vocals flow smoothly from verse to verse, giving them an especially catchy rhythm. The lyrics themselves are also quite powerful, seemingly about overcoming depression and how to live one’s life with such a condition. I enjoy the instrumentation too, particularly how it goes from simplicity during the vocal sections to flashier riffs and drum fills during the instrumental sections.

2045 - Man With A Mission (2018)

Man With A Mission is a rock band that formed in 2010 with five members: Tokyo Tanaka (vocals), Spear Rib (drums), Jean-Ken Johnny (guitar + vocals), Kamikaze Boy (bass), and DJ Santa Monica (DJ). This lineup is still current and hasn’t changed at all in the last eight years. A noteworthy gimmick of the group is how they always wear wolf head masks while performing. The reason for this is tied to an elaborate and COMPLETELY CRAZY backstory for the group, which you can read on their website. It somehow involves Jimi Hendrix and has to be read to be believed. MWAM has found a lot of success in Japan with their unique and intense mix of rap, rock, and pop sounds that sometimes resembles Western nu-metal.

2045 is one of the group’s newest releases, with a music video from July. It follows the same basic format as their other songs--intense rock instrumentation interspersed with bits of electronic synth and and a mix of forceful vocals and slick raps, all in English--but it’s a format I still find myself enjoying nonetheless. This is actually one of my favorite songs of theirs now, with fantastic guitar and bass riffs and an intensely catchy chorus that I can’t help but sing along with every time I hear it.

Zurui Hito - Tetora (2018)

Tetora is a three-person band with members Hayune Ueno (vocals/guitar), Inori (bass/chorus), and Miyuki (drums/chorus). They started out of Osaka in 2017 with a different lineup, but some members left and the current lineup manifested just this summer. This new lineup also came with a name change from Tetra to Tetora. There really isn’t a lot else to say about this group, unfortunately. They haven’t done much yet, only releasing 3 singles thus far (and 2 of those in the few months since forming as Tetora). Each of them has a Twitter account and two have Instagram accounts, but as someone who still can’t fluently read Japanese, this was about all I could learn of the group.

Zurui Hito is a song from Tetora’s newest release and is the only video so far of them as this new lineup. Almost immediately, you can tell that the vocals are the highlight. The singer has a deep, throaty voice unlike most voices found in Japanese songs, especially from female vocalists. She packs so much emotion and power into her singing that her voice actually seems to break during certain lines. It’s the most stunning vocal performance I’ve heard all year, and this song immediately sent me looking for more songs from this artist. While I can’t say enough good things about the vocals, the instrumentation is surprisingly solid too. It starts out mellow and jumps up in intensity when the singer does. There’s not much to it, but it perfectly backs the vocals without getting in the way.

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#253 Edited by BrunoTheThird (827 posts) -

Old-ass song, I know, but I've been re-listening to Utada Hikaru's discography and stumbled on a track called Kremlin Dusk (2005) that really stuck out to me. It has baroque and symphonic elements, with her voice even acting as a simple counterpoint to the staccato acoustic guitar at points. Really interesting arrangement and structure: verses going into little vocal lifts/transitions, into pre-choruses that change things up quick and often, all leading to a huge, soaring chorus three minutes in, driven by what sounds like a rock or hammond organ (I know right?). To top it off, she uses references to Edgar Allan Poe and his work as metaphors for loss and longing, which is pretty heady for pop. That is way my cup of tea, so this immediately made the playlist.

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#254 Edited by Wemibelle (2633 posts) -

I’m back!

It’s been a busy month and I’ve not had much time or energy to put together a post in the last four weeks. I’m also working hard on compiling songs for my Top 10s of 2018, so that eats into my time too. As such, I'm probably not going to post much in the next month as I get the bigger lists done. I might poke in here and there with some cool songs, though.

Anyway, I’m doing a quick post this week that focuses on some recent Japanese punk songs that I’ve enjoyed. Hope you enjoy them too!

Walking - Longman (2018)

Longman is a three-piece punk band that’s steadily released new music since their debut in 2013. Walking is their newest video off their newest album of the same name. This song has a ton of energy, especially during its choruses. The verses are a bit more measured but still feature some intense instrumentation. This is a song that feels very Japanese punk to me, in particular..

Dear Mr. VAP - Maximum the Hormone (2018)

Maximum the Hormone is predominantly known as a metal band nowadays, but they do have some songs in a more punk-ish style, such as this track titled Dear Mr. VAP. This song’s title refers to their old label, VAP, and their departure to a new label. I almost get a weird ska + punk vibe from this song, despite no telltale aspects of ska (such as horns). The choruses change style slightly but have a super catchy female vocalist that really makes this song stick in my head.

I Fell For You, Fuck You - Ken Yokoyama (2018)

Ken Yokoyama has been putting out music for years, both on his own and with a variety of groups. I Fell For You, Fuck You is a perfect example of his recent work and one of the most mid-90s punk songs I’ve ever heard, despite coming out this year. It’s an incredibly fast-paced song with fantastically catchy vocals, particularly in the choruses. I also really enjoy the video with its strangely erotic scenes that don’t fit the tone of the song whatsoever. You can’t beat the name too; it’s so perfect!

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#255 Posted by Wemibelle (2633 posts) -

Just giving a heads-up in this thread that my Top 10 Japanese songs of 2018 list is up on Giant Bomb now--check it out here if you're interested!

As for this thread, I should be back with new music at some point in January, after a small break. Happy holidays to everyone!

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#256 Posted by Wemibelle (2633 posts) -

For my first few posts of the year, I will likely still be sharing music from 2018, as it (usually) takes a good month or two to gather enough memorable stuff to keep a steady flow going. Don't worry, though, as there were tons of great songs from 2018 I never got around to covering as well as a handful of things that came out near the end of the year--such as these!

Doctor - Chanmina (2018)

Chanmina is a very interesting, newish artist I've been meaning to talk about. Part Korean and part Japanese, her style and aesthetic straddle the line between her two nationalities depending on the song. Doctor features a more Korean rap sound (or Western, in some ways) and a bright, unsettling Japanese-styled video. It's a really weird song and video, and although this is a type of song I don't usually enjoy, I find it oddly compelling and catchy.

No Scrubs - Anna Takeuchi (2018)

Here's another strange one: a minimalist acoustic/drum cover of a TLC song. Anna Takeuchi is a pretty small indie artist with a focus on acoustic guitar and pretty vocals who's put out a couple EPs. She's covered a few songs on these too, such as No Scrubs (and Sweet Child of Mine apparently, which I can't find but NEED TO HEAR). It's really strange hearing this song come out of this petite, adorable Japanese girl, but it's actually a solid cover.

Oto no Kuni - Kyary Pamyu Pamyu (2018)

Kyary snuck in one last release for 2018, on the 31st of December! There's not much I really need to say about I, I feel. It's a solid track with nice energy and some solid production. After Kimino Mikata earlier in 2018, a more striking song with a FANTASTIC video, this feels a bit plain, but I still enjoy it all the same.

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#257 Posted by Wemibelle (2633 posts) -

Some more stuff from 2018 this week. There's been a couple interesting tracks released this month, but I'm still waiting for a good amount to transition into 2019 tracks. Hope you enjoy!

Flamingo - Kenshi Yonezu (2018)

Kenshi Yonezu is an artist I've been meaning to get around to covering but just never managed to do so, even though he keeps releasing great songs, such as last year's Flamingo. His smooth, sultry voice flows perfectly amongst the funky bass and sharp beats here, while retaining that distinctive twang that only his voice seems to have. Hopefully, I can do a more in-depth post on him in the near future, as he's fantastic and worth exploring.

Kon'ya konomama - Aimyon (2018)

I've spent plenty of time here talking up Aimyon so I don't feel the need to go into too much detail on Kon'ya konomama. This is yet another example of her stellar voice that I just cannot get enough of--it's truly one of the most pleasant voices in Japanese music for me. This song didn't quite hit me as hard as some of her past tracks, which is why it didn't make it on my Top 10 list for last year, but it keeps growing on me more and more every time I hear it.

Genji monogatari - Heianshiki Bu Teikintai (2018)

The violin has always been one of my favorite instruments to listen to with its gorgeously rich sound. I just never got enough of it. However, when Lindsey Stirling first started to mix its sound with pop/electronic beats in 2012, I instantly wanted to hear it in more music. I'm surprised it took this long, but I'm happy to see a new-ish Japanese group, Heianshiki Bu Teikintai or just H.B.T., take a crack at it. This song definitely takes on a more traditional Japanese style but still mixes in some slick beats and synth.

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#258 Posted by Wemibelle (2633 posts) -

It’s been a bit longer than I like, but I’m finally back with a new post. This week, I actually have three songs from 2019 to share, each of which is fantastic in an entirely different way than the others. Check ‘em out and let me know what you think!

Ogre - Black Boboi (2019)

Black Boboi is another one of those groups that doesn’t have a lot of information about itself out there. All I could really learn was the group is made up of three young women and was founded in 2018. This song, Ogre, is a track off their first album Agate and is also their first music video. It utilizes a very minimalistic style, especially in its production—there’s really just enough of a beat to make it a song, with some light rising and falling depending on the section. The vocals are the main focus, haunting and evocative and entirely in English. On the whole, Ogre is a song that is not very complicated. Despite that fact, I found it to be remarkably singular and hard to forget once I first heard it.

Free! Free! Free! - Anna Takeuchi (2019)

I posted an Anna Takeuchi song just last month, a cover of TLC’s No Scrubs that I found entirely delightful. Now, I have an original song of hers to talk about. First, a little info on the artist herself. She’s a young college student who writes and performs songs, typically on acoustic guitar, on the side as she takes classes. Free! Free! Free! is her own creation and features on the same album as that fabled Sweet Child of Mine cover I mentioned last month (which has its own video now too and is very interesting and worth checking out!). It’s a really catchy track despite its relative simplicity, mostly due to a great beat and rhythm. Takeuchi’s soft yet fun vocals switch effortlessly between Japanese and English and really sell the song’s poppy energy. I particularly like the great breakdown section, both vocally and instrumentally, near the end of the song.

I’m A Pop - Chanmina (2019)

Chanmina is another artist I’ve brought up before, but she absolutely deserves coverage with a bit more detail. Half-Korean and half-Japanese, she is highly talented musically and fluent in Korean, Japanese, and English. In her music, she seems to meld elements of her dual heritage together with a helping of Western-style hiphop to create a very unique aesthetic and sound, especially for the Japanese market. Her presence while performing is also incredible, drawing me in with her vibrant expressions and hypnotic voice. Her latest release, I’m A Pop, is easily her most striking release yet. It demonstrates Chanmina’s killer flow as she skillfully utilizes not only Japanese and English but even Korean too. These vocals are deftly supported by a simple production that neatly boosts the performance without getting in the way. Finally, the swagger-filled video is filled with amazing visuals, such as gun-toting ninjas that shoot automatic rifles in time with the beat during the chorus. If you haven’t seen or heard Chanmina yet, THIS is the time.

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#259 Posted by coolashell (1 posts) -

i think kpop has nice music rymth, i mean i like the hustle and the energy of it, but i dont paticularly listen to it since i dont understand korean. so genaraly, i dont listen to all of that. rarely some of the songs that become a hit would trigger my interest. i play LOL, and they introduced the song KDA, it's fantastic and i love it. it gets like about 200 million views, people have made an app in apknite about it. it went viral. spent sometime to dig and find songs recently and found some really good one. but one thing that i personally dont understand is that why they have so much fan like that. some hardcore fan even cry and praise them like a god, especially the male bands. is not it because they are good-looking?

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#260 Posted by breadwiner (2 posts) -

there is a scandal of a member of bigbang and it's huge. he might get sentenced years for it. dang

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#261 Edited by Wemibelle (2633 posts) -

Another long span between posts--sorry! With both a vacation and sudden illness getting in the way, I’ve been putting off another post. This week, to make up for things, I’ve gathered four incredible songs that I can’t wait to share with everyone. Please make sure to let me know what you think!

Glossy - The Josephs (2018)

The Josephs is a 4-piece band based in Osaka that is pretty unknown even in Japan. Its members are Julia Fujimal (vocals), Naoaki Tsuda (guitar), Kazunari Yoshida (guitar), Tomofumi Nozaki (bass), and a relatively new drummer whose name I cannot find anywhere. Their music has a very indie rock sound along with a bit of folk inspiration due to the vocalist’s time growing up in the United States, which is also why all their songs have English vocals. Glossy is my (current) favorite song of theirs off their first full album, Dusty Dreams. It kicks off with a smooth bass line and beat that makes me want to tap or nod along every single time I hear it. On the whole, the song has a laid-back, yet memorable, production. The singer’s voice is my favorite part, mostly because it’s husky in a way few Japanese artists manage to nail. She likes to linger on syllables for maximum impact and emotion, and it creates a uniquely beautiful sound. These vocals and the production make for a remarkably effective pairing that is so decidedly unlike anything else out there right now, which is why I love it so much.

Choose Go! - Chai (2019)

Chai has become one of my favorite groups to follow since I discovered them in 2017. They are a 4-member group featuring twin sisters Mana (main vocals + keyboard) and Kana (guitar) in addition to Yuna (drummer) and Yuki (bass). Their music is a peculiar mix of electronic, pop, punk, and rock elements (depending on the song) that lends them a sound unlike any other, often matched with a striking visual style in their videos. Choose Go! is their newest song/video and is a hell of a lot of fun. The production is simple but delightfully bassy and has a catchy beat that keeps me coming back. The vocalist’s stuffy/nasally voice may not be for everyone, but I’ve always adored it. She also has particularly good rhythm and flow here with the beat. The whole song gets chaotically over the top by the end, building to an almost overwhelming intensity that I find thrilling.

Denkousekka - Polkadot Stingray (2019)

Polkadot Stingray is another four-member band, this time out of Fukuoka. Composed of Shizuku (guitar + vocals), Harushi Ejima (guitar), Yuki Uemura (bass), and Kazuma Mitsuyasu (drums), they have had above-average popularity both in Japan and here since they debuted on a major label in 2017. I would characterize them by their high-energy songs and visually creative music videos. One of their newest releases, Denkousekka, is a perfect example of their intense style and aesthetic. The song kicks off with one of the best main riffs I’ve heard in a song in a long time: it has tons of energy, lots of punchy twangs, and is ridiculously catchy. It works even better when the bass and drums kick in after the intro, providing an excellent drive for the entire song. The vocals are solid as well, darting playfully around the instrumentation during the verses (with my favorite being the slower verse about ⅔ through the song) before building to a triumphant yell during the choruses. It’s also a joyful video, with tons of costume changes and silly effects along with some funny performances.

Ryuugakusei - Monkey Majik x Okazaki Taiiku (2019)

I’ve already posted about Monkey Majik before so I won’t go into detail about them. Their guest this time, Okazaki Taiiku, is a solo artist most well-known in Japan for his 2016 parodizing song/video “Music Video” which smartly lampooned many of the common cliches in Japanese music videos of the time--it’s definitely worth a watch with English subtitles, especially if you’ve seen even a few Japanese music videos. This collaboration, Ryuugakusei, is a hilariously creative release that melds the strengths of both artists. The sound of the song overall is pretty typical for a Monkey Majik release, just as catchy and funky as their other releases. The real highlight here, however, is the vocals. The song switches between Japanese and English at times, with each being focused on a different subject: in English, it just seems like a typical love song, while in Japanese, it’s about a foreign exchange student. The truly clever part is that the English lyrics at times sound like Japanese words, such as the line “It’s better never talkin’ ‘cause it’s no good” sounding like beddo ni neru toki kutsu nugu meaning “(I) take off my shoes when (I) go to bed.” It works slightly better in English but sounds definitely close enough to the Japanese lyrics too. This song obviously requires some knowledge of both Japanese and English to truly appreciate, but I still think anyone can recognize the skill and remarkable cleverness nonetheless.

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#262 Posted by Wemibelle (2633 posts) -

Okay, now I’m back on a regular bimonthly schedule, bringing (at least) three songs I enjoy every other week. Let’s get to it!

Saredo-Shiawase - Zombie-Chang (2019)

I’ve already covered Zombie-Chang extensively in a previous post--she’s a strikingly confident Japanese indie artist whose style and genre I can’t really compare to anything else. Her newest video, Saredo-Shiawase, is here and it’s just as bizarrely fantastic as her past releases. The song’s peculiar production is comprised of a droning synth line, a sample that almost resembles a siren, and a catchy beat. It pairs with the vocals of Zombie-Chang in her typical style, deep and rhythmic yet playful and creative. As with many of her songs, the two work oddly well together, combining to make something that really has to been heard to understand. It’s also a song that’s been stuck in my head for days despite not being styled like a traditional earworm.

Gomen ne - Emily Kanou (2019)

Proclaiming herself as a “self-produced idol,” Emily Kanou appears to be a Japanese indie artist who tries do all her music work herself, from making videos to selling and shipping goods from her own online store. I say appear to be because there’s not a lot out there about her, at least not in an easily digestible format. The most I could find was a handful of past releases in the last couple years and a very active Twitter account. Gomen ne is noteworthy because it’s Kanou’s first music video, as well as my first exposure to her. It’s also a remarkable homage to 80s Japanese pop in every way imaginable. The production is authentically true to the era, with tons of poppy synth and overly electronic-sounding drums. Kanou’s vocal styling feels like it fell right out of the 80s, and the production adds the perfect amount of echo too. Finally, the video checks all the boxes for a video of the era: decently low image quality, dated outfits and choreography, and painfully obvious green screen effects. If you’ve never seen an old Japanese pop video before, watching this is almost as good.

Soshite, Mata - Billie Idle (2019)

Billie Idle is a self-described “not idol” five-member pop group headed by two former members of Japanese pop group BiS and produced by Nigo, a member of Teriyaki Boyz, a rap/hip-hop group best known in the West for their eponymous track on Tokyo Drift (LINK). They are comprised of members First Summer Uika, Hirano Nozomi, Momose Momo, Akira, and newest addition Pour Lui, who was the former leader of BiS. I’ve been following this group since their first video released in 2015, immediately drawn in by their bizarre style. I’ve always found their songs intriguing and unique but none of them ever quite hit me hard enough to make it onto one of my Top 10 lists. Their latest release, however, might just change that. Soshite, Mata ditches a lot of the panache and quirkiness typically found from the group and instead attempts a standard, yet remarkably effective, pop ballad. It gives the vocalists a chance to actually show off their gorgeous voices and talented ranges, including some very nice high notes. There’s also some solid use of counterpoint in the chorus with each member layering onto the other. This track likely isn’t that impressive or memorable to anyone else but me, but I was blown away by my feelings for it, simply expecting another quirky upbeat release. Instead, I think this is one of my favorite songs of the year so far.

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#263 Posted by Bollard (8163 posts) -

Ryuugakusei - Monkey Majik x Okazaki Taiiku (2019)

I’ve already posted about Monkey Majik before so I won’t go into detail about them. Their guest this time, Okazaki Taiiku, is a solo artist most well-known in Japan for his 2016 parodizing song/video “Music Video” which smartly lampooned many of the common cliches in Japanese music videos of the time--it’s definitely worth a watch with English subtitles, especially if you’ve seen even a few Japanese music videos. This collaboration, Ryuugakusei, is a hilariously creative release that melds the strengths of both artists. The sound of the song overall is pretty typical for a Monkey Majik release, just as catchy and funky as their other releases. The real highlight here, however, is the vocals. The song switches between Japanese and English at times, with each being focused on a different subject: in English, it just seems like a typical love song, while in Japanese, it’s about a foreign exchange student. The truly clever part is that the English lyrics at times sound like Japanese words, such as the line “It’s better never talkin’ ‘cause it’s no good” sounding like beddo ni neru toki kutsu nugu meaning “(I) take off my shoes when (I) go to bed.” It works slightly better in English but sounds definitely close enough to the Japanese lyrics too. This song obviously requires some knowledge of both Japanese and English to truly appreciate, but I still think anyone can recognize the skill and remarkable cleverness nonetheless.

This song is flipping incredible, I've never seen anything like this before. Thank you!

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#264 Posted by Wemibelle (2633 posts) -

Two weeks already and time for another post! This week, I've got three 2019 releases from artists I've already covered before, songs that continue to demonstrate why I like them so much.

Harunohi - AImyon (2019)

Aimyon continues to be one of my favorite current Japanese artists because of her mechanically straightforward yet pleasant compositions and her striking, deep vocal style. Harunohi is another great demonstration of her voice, which I love more and more with each new song of hers. I won't deny that this song sticks to her typical style and does little to stand out from past releases. It's definitely not my favorite song of hers either, but I still get a great deal of joy from it nonetheless.

Pretty Old Man - No Buses (2019)

No Buses continues to surprise me with their skill at creating tight, catchy indie rock tracks such as this one, Pretty Old Man. The instrumentation is again quite simple, but the main guitar riff is remarkably fun and provides the perfect rhythm for the song. Despite their droning, mumbly sound, the vocals fit this instrumentation impeccably. This is another deceptively catchy song from a group far too few people know about, and I hope they finally get noticed for releasing songs like this.

That's Why I Gave Up On Music - Yorushika (2019)

Despite the name of this song, it's not actually about Yorushika quitting music. That's Why I Gave Up On Music is just a storytelling song that talks about a relationship gone wrong and its effects on the creativity of a musician. Even without knowing the meaning of the lyrics, however, the song is just as powerful as Yorushika's past releases. The vocals are strong and driving, pairing nicely with the energetic mix of piano and synth and backed by a solid beat. It's a gorgeous song in every way and a perfect introduction to the duo's musical style.

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#265 Posted by Wemibelle (2633 posts) -

I’m back with another three songs. Check ‘em out!

I Feel Tired Everyday - Seiho (2019)

Seiho (Hayakawa) is an eccentric artist out of Osaka who experiments with a variety of styles, genres, and instruments all under the general umbrella of dance/electronic music. He’s been putting out stuff consistently since 2012, building slowly in fame. His talents have let him perform all over Japan and even in America and Europe on occasion. I Feel Tired Everyday is his newest release and my first exposure to him. I was immediately taken in by the main beat and driving synth, a remarkably catchy production that I adore. Seiho builds nicely on this over the course of the song, adding and subtracting elements while retaining that superb core. The vocals are minimal but effective when present. Overall, this song has a very late-night-in-the-city feel, matching the video’s shot of a girl riding a train while the city lights pass by in the background.

Warriors - Melraw (2018)

Melraw, real name Kohei Ando, is a remarkably versatile solo artist. He utilizes saxophone, flute, trumpet, guitar, and synthesizers, all played by himself, to create his music. However, for this video of Warriors, he brought in some guest musicians to record a live session. Melraw plays the sax and sings alongside Keisuke Furuki on bass, Genki Hashimoto on drums, and Jun Miyakawa on keyboard. Their talent, plus the stellar acoustics of the live session, make this video a fantastic version of the song to experience first. Warriors is a very jazzy song, often feeling very freeform in how it comes together. The instrumentation is all solid, from the rapid drum beat to the sultry saxophone. Ando’s dreamy vocals, passed through a talkbox, perfectly suit the playful yet mellow production. All in all, a solid performance of a great song.

Do Ya? - I Don’t Like Mondays (2019)

I Don’t Like Mondays is a Tokyo-based band made up of Yu (vocals), Choji (guitar), Kenji (bass), and Shuki (drums). The group formed in 2012 but didn’t release their first album until 2014. In 2018, they transferred to their current label, Rhythm Zone. They are a very active band that directs many of their own live shows and videos. Interestingly, they also dabble in the fashion industry, even releasing their own brand of clothing. However, we’re here to talk about their newest release, Do Ya?. It’s a delightfully funky throwback track, a different style than their past songs. The instrumentation is fun as hell, smooth and easy to nod along to. The vocals are solid too, nailing that high-pitched style typical of the genre. If you were looking for Bruno Mars filtered through Japan, this is the song for you.

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#266 Posted by Wemibelle (2633 posts) -

Going to be a bit brief this week, as I’ve been pretty busy/tired. Three songs though!

Stay Together - Baby Kiy (2019)

Baby Kiy is a 26-year-old female artist who often performs with an acoustic guitar. Stay Together is a pretty typical example of her style: straightforward yet catchy instrumentation mixed with her soft vocals. I wouldn’t say there’s anything in particular that makes this song stand out to me--I just think it sounds pretty.

Elevator Girl - Babymetal (2019)

At this point, you almost definitely know what Babymetal is. This is a decent new track from the group, their first (?) since Yuimetal left. The typical heavy metal instrumentation and silly, spirited JPOP vocals are present, along with an interesting almost-jazzy bit of production during the verses that reminds me a bit of a Persona 5 track. It’s not my favorite Babymetal song, but it’s still fun to listen to.

Voice - Taeyeon (2019)

I’ve covered Korean artist Taeyeon here before, as she’s been putting out a lot of Japanese releases in the past year. Voice is her newest song. It’s another solid showcasing of her talented vocals, which are easily the highlight. The rest of the song is maybe a bit too plain for my tastes, paling in comparison to some of her past releases like Stay, which felt a bit more focused. Nonetheless, a memorable new track from one of the queens of KPOP.