It’s good to be back 😊

I feel like I say that at the start of every year, but honestly, it does feel really nice to shake off the cobwebs and kick off a brand-new year of Japanese music the only way we know how over here at the Monthly Recommendation Roundup: that is, of course, by talking about and sharing with you guys the songs I’ve been listening to over the past month 😁

If you’ve been following this series for however long that may be, I’ll be in your care once more as we head out on another year-long journey of discovery, roughly the next eleven months or so 😉

However, if this happens to be your first time here and you’re not quite sure what this is all about—

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

I’m sure you’re itching to get to this month’s featured tracks just as much (if not more) than I am to go over them, so let’s get to it!

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ががが/gagaga
by 鈴木実貴子ズ (鈴木実貴子ズ)
If this doesn’t get you going I don’t know what will

Starting off 2026 in a major way is the blog’s newly minted recipient of the Artist Award for Best Vocals, as well as the Runner-Up Album Award for Favorite Blind Pickup of 2025 from the most recent Roundup Awards (catch it here if you haven’t yet!), none other than Suzuki Mikiko Zu. Gagaga brings exactly the kind of energy you want to kick off the year with. It’s a sharp reminder of what makes their music so captivating in the first place: minimalist drum-and-guitar instrumentation that leaves plenty of space for Suzuki Mikiko’s raw, unabashed vocal delivery to fill the room with her electrifying voice. And it doesn’t stop there. This month didn’t just give us a new song, but an entirely new album from the duo as well. Ibara dropped just a couple of days ago at the time of writing, and if you liked what you heard here, I highly recommend giving it a full listen. Hell of a way to start the year.

Slump!
by セブンス・ベガ (7thVega)
This would make for a sick sound check

On the subject of standouts from last year, 7thVega are back with a brand-new single, Slump!, arriving fresh off the heels of their first full-length album PRINCESS back in October. While that release still left a bit to be desired for me personally, it did feel like the band came away from the experience with a newfound confidence and belief in themselves, something you can clearly hear in this latest track. 7thVega have always had the technical skill to back up what they’re trying to do; if anything, it’s consistently felt like a matter of pulling all those elements together in a cohesive way. And while I do think releasing a full-length album may have been a little premature (I was expecting an EP or mini-album first, though that’s often influenced by label considerations), there’s no denying that the experience of putting out a long-form release is invaluable. We’re likely seeing the results of that growth here. Slump! feels more assured, more focused, and vocalist Shibuya Kanna in particular really sounds like she’s coming into her own as the band’s frontwoman. It’s a promising step forward, and one that makes me genuinely curious about where 7thVega go from here.

Sugar
by えんどあ。 (endoa.)
I knew there was something there

Though not quite a standout in the same sense (at least not yet) one of the newer emerging acts that genuinely piqued my interest last year is the mysterious alternative pop unit Endoa.. They seemingly appeared out of nowhere on social media in the latter half of 2025, teasing what would become their debut single, Kokoro hitotsu; a track that barely clocks in at two minutes. Whether that brevity was intentional, perhaps meant as more of a sampler than a full statement, is still unclear. What is clear, though, is that a lot of listeners (myself included) were left wanting just a bit more. Not so much out of desire alone, but out of necessity, to better understand what Endoa. are ultimately trying to do. We get a clearer picture of that here with Sugar. While still on the shorter side by most standards, the added runtime gives the band more room to flesh things out. There’s a more defined alternative pop/rock direction this time around, with guitars playing a bigger role and an overall atmospheric quality that’s greatly enhanced by the presence of their still-unnamed vocalist. It feels less like a tease and more like a proper step forward, and while there are still questions left unanswered, Sugar does a much better job of framing Endoa.’s sound and potential.

Turn It Up
by a子 (a-ko)
Happy to have her back

Moving on now to what’s something of a comeback on the Monthly Recommendation Roundup, we have the return of Ako, last featured here back in 2024 following their signing with PONY CANYON’s subsidiary IRORI RECORDS. And yes, I know how that sounds, but no, I didn’t just stop listening to them after they signed with a major label (lol). In fact, Ako have been a pretty consistent presence on the Roundup EPs throughout 2025. That said, I’d be lying if I said there wasn’t a noticeable shift in their sound post-signing, and that change is largely why they haven’t appeared here quite as often. Much of it comes down to Ako moving away from a more organic, band-oriented sound in favor of electronic, pop-leaning flourishes. While that approach still has its merits, it did change the balance that originally drew me in. That’s why Turn It Up stood out to me. It’s the first song from them in a while where the instrumentation feels a bit more forward again, bringing back that contrast I always enjoyed between fuller instrumental textures and Ako’s breathy, airy vocal delivery.

なにかいいことあるといいな/nani ka ii koto aru to ii na
by ん・フェニ (N-FENI)
She’s too good

To cap off this portion of features, before we move on to this month’s Roundup debutants, we have an artist I find myself growing more enamored with every time she releases new music: N-FENI. I mentioned this in a post last year, but I genuinely believe one of the best things to happen in 2025 was N-FENI developing an appreciation for shoegaze and dream pop, and I mean that now more than ever. After all, without that shift, we wouldn’t have been treated to Nani ka ii koto are to ii na here. As you’ll hear in this track, she has an almost uncanny knack for the style. It genuinely sounds as if she’s been making this kind of music her entire career, when in reality she only began exploring it within the past couple of years. Whether that’s because this is where she naturally belongs, because N-FENI is simply a genius, or some perfect mix of the two, the end result is the same: this artistic direction has yet to disappoint, and it continues to feel more and more like the right place for her.

NIRVĀṆA
by 星熊南巫 (hoshikuma minami)
Those guitars man

Following a slightly different, but not entirely dissimilar path from N-FENI is artist Hoshikuma Minami. Like N-FENI, Hoshikuma began her career as a member of an idol group (WAGAMAMARAKIA) before branching out into a solo project on the side in the form of the electronic/metalcore unit DEATHNYANN, which is perhaps best known for its work on music related to Fortnite. She would later go on to release music under her own name, a move that’s seen her explore a much wider range of styles. The latest example of that is her foray into math rock with NIRVĀṆA. It’s worth noting that while Hoshikuma is consistently responsible for the lyrics and core melodic ideas behind her songs, she also collaborates with different musicians from track to track. That collaborative approach largely explains the stylistic variety in her recent output. In this case, NIRVANA is a collaboration with guitarist Watanabe “Wata-san” Shunya, who plays guitar for Kuon and MEminor. I could just be biased because it’s math rock, but I’d honestly love to see a N-FENI-esque arc play out here where Hoshikuma develops a deeper appreciation for alternative rock moving forward, simply because of how well this song turned out. In particular, the verse around the 1:40 mark really stood out to me, with its strong echoes of early-2000s emo. If this is a direction she decides to explore further, I’ll definitely be paying close attention.

ファミレス⭐︎ロック/famires rock
by iVy
Got me right away with that intro

Speaking of side projects, one I thoroughly enjoyed last year came from vocalist/guitarist fuki, who many of you might already know for her work in the shoegaze band cephalo (who we’ve also featured on a previous Roundup). Alongside keyboardist/vocalist pupu, she formed the dream-pop duo iVy; a project that’s quickly become a personal favorite of mine. While I enjoy both projects equally, what really fascinates me about iVy is the wholesome sense of fun that runs through their music. It serves as a really nice contrast to cephalo’s heavier, more introspective, and often drearier atmosphere. That contrast alone makes iVy feel refreshing, even when the two projects share personnel. Their influences shine through clearly as well. fuki has cited her roots in producers like sasakure.UK and fullkawa honpo, along with bands and artists such as tricot and DAOKO. Meanwhile, pupu points to Tommy February6 and Chatmonchy as early favorites, with bands like Tokenai Namae eventually guiding her toward shoegaze. Rather than sounding derivative of any one influence, iVy’s music feels like an amalgamation of all these elements; stitched together into a colorful, playful pastiche that still feels uniquely their own. You can hear that clearly in FamiRes Rock, a track that perfectly captures the charm, energy, and personality that make iVy such a joy to listen to.

Haze
by りるさえ (lilsae)
A rock star in the making?

If you were following the Roundup (or any of my other writing, for that matter) last year, you’d know it probably felt like all I could talk about was just how incredible a year it was for Japanese alternative rock. Not just for established bands and artists already embedded in the scene, but for up-and-coming acts as well, both in terms of the quality of their releases and how well they were ultimately received. And it looks like that momentum hasn’t slowed down one bit, as we’re already being introduced to promising new prospects right at the start of the year, chief among them being singer-songwriter Lilsae. Signed under MA Promotions, Lilsae is a self-described aspiring rock star who began releasing music in earnest back in August of last year. Her debut single Break the Chains immediately showcased her grunge and punk rock roots. Singing primarily in English, she was quickly picked up by the algorithm and found an audience overseas; something made especially apparent by the sheer number of English comments on her videos. Now with Haze, only her third single to date, I’d argue we’re hearing the most promise yet. The track deviates slightly from her earlier work by leaning into a more shoegaze-adjacent sound. And sure, I could just be biased toward my own preferences here, but I genuinely wouldn’t mind seeing her explore this direction further.

人が死ぬ映画/hito ga shinu eiga
by 0番線と夜明け前 (zero bansen to yoake mae)
… This is an oddly dark song for how it sounds (LOL)

Of course, a big part of what keeps the lifeblood of alternative rock flowing is artists within the scene continually finding new avenues and creative outlets for their music. If there’s one musician who’s embodied that spirit in recent years, it’s Azusa Suga. Following the disbandment of longtime shoegaze/dream pop stalwarts For Tracy Hyde, guitarist Azusa has gone on to pursue his artistry through a variety of different projects. He’s currently the guitarist for AprilBlue, a credited composer for idol groups RAY and airratic, and a producer for ponderosa may bloom. At first glance, it’s clear that much of Azusa’s post–For Tracy Hyde work has gravitated toward the idol scene; an interesting direction in its own right, especially given how instrumentally driven his compositions tend to be, contrasted with the more production-forward image idol music is often associated with. That said, it does feel like there’s been something of a quiet paradigm shift happening in that space lately, with more idol projects embracing guitar-centric, band-like arrangements, but I digress. Azusa, now joined once again by fellow former For Tracy Hyde member Mav, has found yet another outlet for his creative instincts in the promising project Zerobansen to Yoakemae with the track Hito ga shinu eiga. Whether or not this will be a longstanding partnership as with the other idol groups that Azusa is affiliated with remains to be seen, but considering what they were able to do here I wouldn’t be opposed to it in the slightest.

YOUR SENTIMENTAL BUS STOP
by 皆川溺 (minagawa obore)
I gotchu, male vocal fans, I gotchu.

Last, but certainly not least, is who I’d personally call my favorite music discovery of the past month in singer-songwriter Minagawa Obore, along with his band, who he refers to as the “Minagawa Obore collective”. Originally dabbling in Vocaloid work, Minagawa began shifting his focus toward singing his own songs toward the tail end of 2023. In doing so, he kept his knack for expressive guitar work intact while steering his sound toward a more alternative rock–oriented direction, moving away from the more youth-pop-leaning compositions found in his earlier material. Since then, he’s continued operating in a band format, with the guitar remaining the clear focal point of his songwriting, increasingly gravitating toward a distinctly ’90s/early-2000s indie and alternative rock sensibility. That stylistic pull is a big part of what drew me in, but there’s also a strong undercurrent of nostalgia running through his music that really seals the deal for me. You can hear it clearly in YOUR SENTIMENTAL BUS STOP; a track that manages to feel warmly familiar without sounding dated, and one that resonates with me every single time I put it on.

MUST LISTEN:
“Gagaga” by Suzuki Mikiko Zu and
“YOUR SENTIMENTAL BUS STOP” by Minagawa Obore
Suzuki Mikiko Zu have been on an absolute tear since the start of 2025, with the duo now having released two albums within roughly a year. Whether this is them making up for lost time after a relatively quiet stretch in 2023 or simply hitting their stride all at once, it genuinely feels like they’re ready to take on the world, armed with nothing more than Zu’s drum kit, Suzuki Mikiko’s acoustic guitar, and her heart-rending vocals. Gagaga plays like a battle cry in that regard, and if this is how they’re choosing to charge forward, then yeah, it’s shaping up to be one hell of a revolution. Minagawa Obore earns his spot here as well with YOUR SENTIMENTAL BUS STOP. I really can’t get enough of the song’s structure; it unfolds in such a satisfying way, and that main hook has fully lodged itself in my brain. I catch myself humming it at random more often than I’d like to admit, and honestly, that’s usually the surest sign for me that a song’s doing something right.

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The YouTube playlist for 2026 is now live! Both Spotify, and Apple Music playlists have also now been updated with this month’s featured tracks.

Make sure to save them on your preferred listening service if you haven’t yet already, so you always have access to the Roundup 😉

If you’re craving even more songs to check out, the Roundup Extended Playlist for January 2025 is now up! For those new to the series, these Extended Playlists (or EPs) highlight additional tracks I enjoyed this month but didn’t get a chance to feature here.

What did you guys think of this month’s Roundup? Let me know in the comments! Likewise, if you’ve got your own recommendations from the past month, feel free to drop them down below as well! I’d love to hear what you’ve been listening to too!

On the subject of playlists, I also started one called 和式オルタナ (Japanese-style alternative). It updates every Friday and features songs that I personally feel fit that mold of having “intricate guitar work at the core of the arrangement, but vocal melodies that are just as important,” as once described by singer-songwriter Kitani Tatsuya. If that sounds like your kind of thing, definitely consider adding it to your rotation! The weekly playlist is available on both Spotify and Apple Music, and there’s also a separate archive playlist that collects every song that’s ever been featured if you’re curious about the full history (also on Spotify and Apple Music).

The J-Music Advance Party has officially opened its doors for yet another year, kicking things off with this month’s edition, which dropped on January 11, 2026 (check it out here!). If you’re new to the Party, it’s my Substack newsletter where I go over upcoming Japanese music releases I’m personally excited for each month, framed as a kind of pre-release event. It’s totally free, so if that sounds like your kind of thing, be sure to subscribe so you never miss a Party. The next one is set for February 8, 2026. Hope to see you there!

Lastly, the J-Music Exchange/Rate is back yet again for its sixth year (!!!) to satisfy all your album review needs. The Exchange/Rate is a tandem album review series conducted every month by yours truly alongside my good friend and fellow Japanese music fan Al from Omunibasu. Each month we decide on a specific theme with which our reviews would revolve around. This month’s theme was “albums with no skips.” For Al, I picked Ai no Ubugoe, Ai no Nakigoe by Leina, which you can check out over on the Omunibasu Substack. In return, courtesy of Al, I reviewed SHISHAMO 6 by the one and only SHISHAMO. If you haven’t caught it yet, you can find it here!

And that’s about it! Thank you all so much for stopping by whenever you do, it genuinely means a lot to me. As always, I hope the Roundup (and everything else we do here on the blog) is just as fun for you to read as it is for me to write and put together 😌

Happy Listening!