Damn, what a month.

Greetings, fellow Japanese music fans, and welcome back once again to the Monthly Recommendation Roundup! Stoked to have you here, whether you’re a regular of the series or you’re a newcomer. If you consider yourself the former, you should already know what we’re all about here, but if you’re actually the latter and you’re not at all familiar with how things goー

At the end of each month, I put together a post featuring Japanese music that I’ve listened to and want to recommend to you all. Keep in mind, these songs don’t necessarily have to be recent releases. Some might be tracks I’ve just discovered, while others could be longtime favorites that I’m excited to share on a whim.

The songs I feature will all come from YouTube links to their respective PVs, which means there are some limitations on what I can include. However, I find that sticking to one platform ensures the most accessibility for everyone (and there are easy workarounds for region restrictions). This also allows me to create a playlist of all the songs featured in each Roundup, which I update and share at the end of every post

This month, for whatever reason, was insanely stacked with fantastic new releases that I was actually having trouble picking out only ten songs to talk about. Not only that, but I was also having to trim the Roundup EP down to size if you could believe that. Us fans ate good this month, that’s for sure. With that in mind, if a song you were expecting to see here didn’t make the cut, just know it wasn’t for lack of quality, this month was just that packed. But hey, that’s a good problem to have, right?

Alright, enough preamble. Let’s dive into this month’s Roundup!

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cheers
by muque
That eagle cry is a work of art

After having a tremendous 2024 that saw them only continue to rise, muque are back with their first new single of 2025 in cheers, and it looks like they’re doubling down on that ’80s retro-cool aesthetic they started leaning into leading up to Dungeon, their first full album from late last year. Then again, muque have always had a bit of an old-school appreciation baked into their sound, so this feels more like a natural extension of what they’ve been building. In addition to things that haven’t really changed is their innate ability to craft insanely catchy songs. At this point, they’ve pretty much mastered the sub-three-minute track; a skill that, I’ve noticed, is becoming increasingly common for bands/artist, especially among those who cater their music to the youths attending livehouse shows. I’m starting to think it’s intentional, a way to maximize audience engagement and keep the energy at peak levels, while in turn making the songs “clippable” and easily shareable on social networking services (SNS). While I usually credit drummer/beatmaker Takachi and vocalist Asakura for their roles in producing muque’s signature earworm-y sound in that regard, I have to give props to bassist Lenon on this one as his basslines are absolutely killer here. muque are gonna have their hands full with a nationwide tour taking up the better part of this year, but fingers crossed they’ve still got something cooking behind the scenes.

The End of the F***ing World
by ブランデー戦記 (brandy senki)
Yo, language, chill (lol)

In last month’s Roundup, I talked about how Brandy Senki would do well to push out a couple more songs leading up to their first full album debut in the summer, so I’m pleased to see them do exactly that. They’re back here with a relatively quick turnaround from their last single release, this time now with The End of the F***ng World (what a title, btw). Given the title of their previous single from this year (Last Live), I’m now starting to think there’s a thematic thread connecting the songs on the album. Maybe something revolving around finality, maybe even an overarching post-apocalyptic aesthetic. If that’s the case, and they fully lean into it, it has the potential to be something really cool. As for the song itself, I wouldn’t call it a step back, but I do feel like they let their foot off the gas a little here. Compared to Last Live, which had some nifty switch-ups, The End of the F***ng World feels more like a vibe-driven track, relying more on its atmosphere than any major structural shifts. It’s a much more straightforward song in comparison, which honestly makes me think they’re building up to a blowout track next in their release pipeline. That said, this song does have its moments, particularly the chill ’90s-style instrumental break, which, while not overly complex, is a nice touch.

ジェイド/jade
by TRE@SON
Pure catharsis

In the J-Music Advance Party for March of this year (check it out here if you haven’t yet!), I chose to feature TRE@SON for their second EP, Haru wo koete mo, which dropped earlier this month. If I’m being completely honest, when I wrote up my piece, I fully expected the songs on the EP to follow in the footsteps of their debut consisting of youthful, spirited indie rock offerings, the kind you’d expect from a band still in their teens. So imagine my surprise when they hit us with Jade, a slow rock ballad. One that, to my understanding, references Banana Fish. I’ll admit I’m not too familiar with the series, so if any of you are, feel free to fill me in down in the comments. But I digress. As much as I had high hopes for TRE@SON, I never expected them to come out with a sound this mature, and to completely nail the emotion needed for a track like this? That just blew me away. I especially love the entire lead-up to the instrumental break in the middle, starting at the 2:14 mark, where everything gradually builds into a lovely refrain before exploding into that breathtaking chorus. When I first wrote about them, I compared them to Hump Back, but after hearing this, I can’t help but feel a bit of Split end in them as well, the kind of band that not only delivers high-energy tracks but also knows how to hit you where it hurts with pure emotion. TRE@SON continues to be all sorts of promising and I’m so here for it.

点滅する/tenmetsu suru
by さとう。 (satou.)
The way this song builds is something else

You might be thinking, haven’t I heard Leap say this before? And honestly, you probably have. It’s something I’ve mentioned numerous times throughout the history of doing these Roundups, but if I had to pinpoint an artist who consistently composes and arranges their songs in this manner, it would be singer-songwriter Shibata Satoko. I’ve sung her praises plenty, both in her solo work and in her compositions for other artists, and in that regard, I really do see Satou. as being cut from the same cloth. It’s not just that she, too, wields an acoustic guitar—it’s how she approaches her songwriting. Tenmetsu suru carries that same unmistakable aliveness that I often associate with Shibata’s music. From the moment it starts, the song begins to grow and build on itself, constantly moving, shifting, and evolving. It never lingers too long in one place, and because of that, you find yourself leaning in, tracking every little ebb and flow, every bend and break in Satou.’s heartfelt singing, right up to the very end. If you’re a fan of Shibata Satoko, you will absolutely love Satou. She’s a criminally underrated artist in my book, and I can’t recommend her enough.

I’m so sorry
by ん・フェニ (“N-FENI”)
She’s so good

There are definitely times when I feel a little proud of myself for blindly diving into new artists and bands the way I do, especially when I end up really liking them. It feels doubly rewarding when they go on to evolve and improve, like a sense of vindication, knowing that there really was something special in what I first heard. That’s exactly how I feel listening to N-FENI’s latest single, I’m so sorry. Compared to her previous releases, this song feels like the most complete. Not so much structurally, but in the sense that it fully encapsulates what we’ve come to know about N-FENI’s musicality. She showcases so much of her range here, and it gives the song a real sense of dimension. I’ve also noticed her slowly shifting away from the cutesy singing style she used to lean on, opting instead for something more ethereal and airy. While there’s certainly a charm to her older approach, I think this transition is a great move, especially if she’s leaning fully into dream pop. If that’s the direction she’s taking, and she keeps sounding like this, then I’m all for it.

PARAPARA
by Liza
Absolute thriller of a track

It’s honestly pretty fitting that I get to slot Liza into the Roundup right after an N-FENI feature. Much like how MERI got recommended to me by the algorithm thanks to N-FENI (as I mentioned last month), I think Liza followed a similar path in that regard. In a way, I’d attribute my discovery of her music to having been exposed to acts like N-FENI and then MERI afterward. What’s interesting, though, is that while I did go back and check out Liza’s 2022 full album WHO AM I? when I decided to dig deeper into her catalog, I found myself really becoming a fan of her darker, edgier style. Leading up to the release of her latest mini-album, PARAPARA MIXTAPE, which just dropped this month, I actually wasn’t all that impressed at first. I gave it a couple more spins just to make sure I had the right read on it, but it wasn’t until Liza put out this featurette that doubles as a sort of PV for PARAPARA that things started to click for me. Listening to it again with that visual accompaniment, I found myself reminded of BURNABLE/UNBURNABLE’s take on “Dark Pop”, and in some ways, I actually think Liza might be executing that concept even better. There’s an eeriness to this track that really lingers, stemming from the way those calming string sounds contrast with the steady thumping beat. And when you pair that with the imagery of being chased, it just heightens the tension even more.

YOUNG & ADULT
by e5
Real

It feels like I’m bending the rules a bit by slotting e5 into the unofficial “new bands/artists” half of this month’s Recommendation Roundup, especially considering she already made an appearance in the January 2025 Roundup for her feature on that collaborative track with 嚩ᴴᴬᴷᵁ and utumiyqcom. But, as you might recall, I mentioned back then that the song itself wasn’t exactly the best representation of e5’s own music, rap style, or overall artistry. She’s a flow-driven rapper at heart, and that track didn’t quite showcase that. So, think of this as a proper introduction, and what better way to do that than with YOUNG & ADULT, a song that, interestingly enough, also serves as a kind of reintroduction. Just… not in the way you might expect. The song’s first verse opens with a striking confession: she had once planned to end her life at 18, yet here she is now, about to turn 21. In the video’s description, she expands on this, explaining that she made it through thanks to the support of her friends, both those in her life and those she met online. And though many of those people have since drifted away to live their own lives, she’s come to terms with that and is ready to start anew. I think a lot of people can relate to that feeling in some way, maybe not to the same extent, but the emotions behind it still hit hard.

Linda feat. 詩羽 (utaha)
by CENT
Very cool pairing

This isn’t actually the first time WEDNESDAY CAMPANELLA’s Utaha and CENT (formerly known as Cent Chihiro Chittiii of BiSH) have teamed up. Just last month, CENT made a guest appearance on Utaha’s Bonsai, and now Utaha returns the favor by hopping on CENT’s Linda. Whether these two were already friends before all this (someone let me know in the comments) I couldn’t say for sure, but I wouldn’t be surprised given the natural chemistry they seem to have. That said, I have to admit that while Bonsai was a solid track, it only made it to February’s Roundup EP rather than as a featured pick, which I think speaks to how much more I enjoyed Linda. Bonsai leaned more into Utaha’s usual pop-electronic lane, and while it was good, there wasn’t a whole lot that stood out to me. Linda, on the other hand, felt like an excellent showcase of both CENT’s and Utaha’s vocals. The more band-oriented sound complimented their voices beautifully, and for Utaha especially, it highlighted a side of her singing we don’t normally get to hear. The two are even now in terms of guest appearances in each other’s songs, but I wouldn’t mind them pairing up in the future if this is how they’re going to sound.

eleven
by のあ (noa)
Could’ve fooled me really

Though perhaps I shouldn’t be too fooled into thinking that this is not a real voice singing this song considering the advancements of vocal synth technology over the past couple of years, but I digress. eleven comes to us from producer noa, featuring the “song voice” Chis-A (pronounced /chi-sei/) from CeVIO’s VoiSona lineup. Some of you might recall me mentioning CeVIO before, particularly in the context of their ability to create vocal synths that capture the natural nuances of human singing, something we’ve seen in full force with their Musical Isotope Project. That said, it’s not just the lifelike quality of Chis-A’s voice that makes eleven feel as organic as it does, it’s also the raw, emotional instrumentation that ties everything together. The guitar riffs, in particular, carry a beautifully melancholic quality, reminiscent of the kind you’d hear in a lot of Japanese alternative rock (which, by now, you all should know I’m a huge sucker for). noa seems to dabble in different styles with different song voices, and eleven marks their first time working with Chis-A. But I think they really landed on something special here. I’d love to see them run it back with this combination again in a subsequent release.

さいわいな庭/saiwai na niwa
by さいわいな部屋 (saiwai na heya)
On the subject of beautiful melancholy

While this feature of Saiwai na heya‘s Saiwai na niwa is very much in line with the Roundup’s customary indie band spotlight, its inclusion this month also serves as a bit of an apology. I missed out on featuring Saiwai na heya in the February Roundup, and more importantly, in the J-Music Advance Party for that month, where I actually had the chance to talk about their debut album Sukoyaka na shindai. I had caught wind of its release just a few days before it dropped, but at the time, I decided against including it due to my unfamiliarity with the band. However, I eventually picked up the album on my own time, and almost instantly, I was hit with a wave of regret. Not just because I missed the chance to talk about a truly stellar release, but because I genuinely think it’s one of the best albums to come out this year so far. Saiwai na niwa offers a glimpse into what makes the album so great, showcasing the band’s nuanced alternative rock sound. Everything about the arrangement here is mesmerizing, from the intricate guitar work to Misa’s lovely vocal layering. The album has been (and continues to be) on my heavy rotation, and Saiwai na heya in turn has since become a band that cherish ever do dearly. So much so that I even went and bought a physical copy of Sukoyaka na shindai from their Bandcamp.

MUST LISTEN:
“Jade” by TRE@SON and “Saiwai na niwa” by Saiwai na heya
Tough call this month, but for the first half of the Roundup, I have to give it to TRE@SON. They absolutely shattered my expectations with Jade, and after a performance like that, I can’t help but be even more excited about what’s next for them. Not to mention, they’ve officially graduated high school, which is a real turning point in whether they’ll pursue music as a full-time career. Here’s hoping they stick it out—but I totally get it if they don’t. Guess we’ll find out soon enough. As for the back half, Saiwai na heya’s Saiwai na niwa gets the nod. Highly, highly recommend checking them out. Their debut album is straight-up magic—I’ve lost count of how many times I’ve played it this month alone.

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The YouTube, Spotify, and Apple Music playlists have ALL now been updated with this month’s featured tracks.

Make sure to follow them on your preferred listening service if you haven’t yet!

If you’re looking for even more songs to dive into, the Roundup Extended Playlist for March 2025 is officially live!

If you’re new to the series, these extended playlists (EPs) are where I highlight other tracks I enjoyed throughout the month but didn’t get around to featuring. Definitely worth checking out if you’re craving more great music!

What did you guys think of this month’s Roundup? Let me know in the comments!

And if you’ve got your own recommendations for the month, feel free to share them down below. I’d love to hear ’em!

If you’re one of my Substack subscribers, a brand new issue of the J-Music Advance Party for March should’ve arrived at your doorstep! As I mentioned earlier, I went and talked about TRE@SON on there as well as a couple of other bands and artists who came out with new EPs and albums this month. If you’re not yet subscribed, don’t worry, you can still check the issue out to see if you missed any of the releases I covered. While you’re there, be sure to hit that subscribe button if you’re at all interested in seeing which album releases I’m most looking forward to each month! It’s a free publication that drops right around the start of each month, with the next issue scheduled to release on April 6, 2025. Hope to see you there!

If you want to see me get absolutely washed in my own series (lol), this current season of the Spotify J-Music Playlist Draft is right for you! Spotify has been kicking my butt since pretty much the start of the year with its amazing recommendations. Seriously, if you haven’t been keeping up, go check out Week 5 and Week 6 to see exactly what I mean! At this rate, I might just have to accept defeat, but hey, we’re only a few weeks in. Plenty of time for a comeback… righ-

New J-Music Exchange/Rate alert! This month, Al and I tackled albums that made us absolutely obsessed with an artist, and let me tell you—I had a blast reviewing Al’s pick of ASOBOiSM’s OOTD (read it here!). Meanwhile, I passed along WurtS’ I HOPE YOU STAY WELL FOREVER to Al, which, full transparency, became my second-most listened-to album of 2024 despite me only really bumping it for the span of a single month. To say I was obsessed might even be an understatement. Curious to see what Al thought of it? Head over to the Omunibasu Substack and check out his review!

And there you have it, another Roundup wrapped up and in the books! Huge thanks as always for stopping by, whether you’re here every month or just popping in, I truly appreciate it. Hope it was worth your time, and if nothing else, I hope you’re walking away with at least a couple of new favorites to add to your library.

Happy Listening!