Blossoming with new music!

Why hello! And welcome back! It’s springtime once again here at the Monthly Recommendation Roundup, and I would be honored to usher in the season of new beginnings as they call with you all, the only way we know how around these parts, and that’s of course to kick back and listen to the month’s latest tracks! If you’ve been following the Roundup for some time, then you should already have a pretty good idea what to expect, BUT if you’re new and you’re actually not that all sure what this is all about, please give the following a quick read:

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

Without further delay, let’s get to it!

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千鳥/chidori
by ヨルシカ (yorushika)
Truly liberating

I wasn’t expecting to be featuring Yorushika on the Roundup this month, but here we are; and in a way, Chidori kind of caught me off guard in the same way their latest album Nininshou did when I first talked about it over on the Advance Party. What struck me immediately with this one is just how… carefree it sounds. Not in the sense that Yorushika have suddenly turned into a bright, bubbly pop act or anything like that, but rather in how much lighter everything feels compared to what we’re used to hearing from them. There’s usually this emotional gravity that follows their songs around; that lingering sense of longing, regret, or quiet introspection that n-buna and suis have made their calling card over the years. Chidori, by comparison, feels like it’s just… weightless. A big part of that comes from n-buna leaning more heavily into jazz here. It’s not a full-on genre pivot, but the way the song kind of flows rather than builds all give it this breezy, almost improvisational quality. In a way, it almost feels like a glimpse into another side of Yorushika that we don’t get to hear too often. Not a reinvention necessarily, but more like a reminder that they’re capable of this kind of looseness when they want to be; and honestly, I think that’s what makes Chidori stand out as much as it does here.

ゴースト/ghost
by tayori
I’m not crying, you’re cryin-

It’s been a while since we last saw tayori here on the Roundup, which honestly feels a bit strange given how clearly they left an impression the last time they showed up. I remember pointing out back then just how reminiscent their music felt to Yorushika who we just had on, with their same kind of “yakousei” melodic sensibility. And now, somehow, that resemblance has extended beyond just the music. The PV for Ghost featuring a dog running through a springtime setting had me doing a bit of a double take (lol). I am, of course, referring to Yorushika’s Haru dorobo which is a song that I hold very near and dear to my heart. But in all seriousness, what really separates tayori becomes more apparent the longer the song plays out. A lot of that comes down to composer raku and the way he approaches arrangement. There’s a noticeable breadth to the instrumentation here, and in particular, his use of brass adds a dimension that gives Ghost its own identity (though funnily enough Yorushika also did incorporate a great deal of brass in their most recent outing too). Where the initial comparison point might suggest something more restrained, this instead feels fuller, more expansive, and just a bit more textured overall. That added color ends up shaping the emotional core of the track too.

Merry -band ver-
by ん・フェニ (N-FENI)
Will never not be impressed

I said it before and I’ll say it again; N-FENI is just too good. At this point it almost feels redundant to keep repeating it, but every time she drops something new, she somehow finds a way to reinforce that sentiment. What makes this release particularly special is that it comes as part of a long-awaited album in tiered skirt which comes to us following her growing fascination with shoegaze and dream pop; something I’ve been keeping an eye on ever since she first started leaning in that direction. I don’t think I’ve seen an artist commit to such a complete shift in trajectory quite like this. It really does feel like a full 180; from her earlier work into something that is now fully immersed in the textures and atmosphere of shoegaze, as fully evidenced now by this new rendition of one of her earlier works. And the craziest part is just how well it works. The instrumentation carries that hazy, layered quality you’d expect; guitars blending together into a wash of sound that feels both expansive and intimate at the same time. And then there’s her voice. The airy and breathy singing style she’s adopted for this direction has been something I’ve praised before, but here, it really feels like she’s perfected it.

dance now!
by chilldspot
They’re not messing around

I think it’s pretty safe to say at this point, having followed chilldspot for the better part of four years now, that they simply do not miss. It’s something that has come up time and time again across their releases, not just in terms of maintaining a high level of quality, but in how confidently they operate within their own sound. There’s a clear sense of identity there, one that continues to sharpen with each new song they put out. dance now adds an interesting wrinkle to that identity. The band leans into a more aggressive tone here. The instrumentation carries a bit more bite; the overall feel is just a touch more forceful than what we might usually associate with them. Even so, they never stray too far from what makes them recognizable in the first place. That groove is still very much present; those basslines continue to be a defining feature of their sound. They give the track its sense of motion and keep everything feeling connected even as the band pushes into slightly rougher territory. It’s that balance between control and looseness that chilldspot have always handled so well. And of course, Hiyune remains at the center of it all. Her vocal performance here is as captivating as ever, moving through the song with a level of control and versatility that feels uniquely hers.

nine lives
by tiny yawn
Sublime

I do find it a little funny that the last time I featured tiny yawn here on the Roundup, I went on a whole tangent about how they’re much more than just a math rock band; how a track like YOUTH pointed more toward a fuller, band-oriented sound that didn’t quite fit neatly into that label. And now, here they are with nine lives, going right back into math rock in a way that almost feels like a playful rebuttal to that entire discussion (lol). That said, even as they lean into the genre more directly here, it still doesn’t feel like they’re simply conforming to expectations. The guitars carry that signature math rock complexity, weaving through these winding, almost hypnotic patterns that feel trippy without becoming too disorienting. What really stands out to me though is the vocal delivery by Takahashi Megumi. There’s an ethereal quality to it that softens the edges of the instrumentation, creating a contrast that feels very intentional. In that regard, it actually reminds me quite a bit of Gestalt Girl, who we’ve also featured here before, that same balance between airy vocals and densely arranged guitar work. In the broader context of what I’ve come to appreciate about tiny yawn across their appearances here over the years, nine lives feels less like a contradiction and more like a reaffirmation of their versatility.

アネモネ/anemone
by 吉凶わからず、 (yoshiashi wakarazu)
That riff, oh man

Fair warning, this might be the most indie-inclined the back half of a Roundup has ever been. A lot of that comes down to my continued curation of the 和式オルタナ playlist, where, funnily enough, every band you’re about to see from here on out has been featured at some point over the past month. And that includes this next act; Yoshiashi wakarazu. The band describe their music as “nostalgic indie pop”, and honestly, I can see exactly why they would frame it that way. There’s a distinctly retro feel to their sound, one that immediately brought to mind artists like suneohair with how the melodies and textures come together. A big part of that comes from the guitars. There’s this hazy, summery quality to them. It gives anemone a very specific atmosphere, one that leans into that feeling of nostalgia without overplaying it. It also ties nicely into something we talked about quite a bit over the past year, that idea of retro-theming and how bands can use it effectively without sounding derivative. We saw that done really well with acts like Kuni and Trooper Salute, and in a similar way, Yoshiashi wakarazu are able to channel that same spirit here.

青い春/aoi haru
by gl1tch.bby
That is definitely a name

We can honestly say a lot of the same things we just went over with the previous track here, because Aoi Haru operates in a very similar space sonically in that there’s that same hazy, dream-like atmosphere present. What makes this particularly interesting though is how much of a departure it is from their debut single. That first release leaned far more into an alt-electronic direction with a glitchcore-adjacent sound. By comparison, Aoi Haru feels almost like the other end of that spectrum. Despite that though, when you take a step back and look at the project as a whole, it still makes sense. According to their artist description, gl1tch.bby is built around the keywords “angel, glitch, and low temperature” with the goal of creating a “distinctive and immersive worldview”. That idea is further reinforced by the structure of the unit itself, with composer UTERO handling the music and manaco overseeing the art direction. It comes across less like a traditional band and more like a curated artistic venture, something not too dissimilar from Bungei Tengoku.

燃え殻/moegara
by ささくれ (sasakure)
Now that’s some good midwest emo

In keeping with that thread of retro-theming and early 2000s sensibilities is Sasakure with Moegara; a track that feels very much in conversation with the sounds we’ve been circling around throughout this back half of the Roundup. This one arrives fresh off the release of their first full album Wasuretai koto, which I highly recommend you check out if you haven’t already. According to the band themselves, their music is centered on the idea of “resonating with the delicate cracks in the human spirit”, something they aim to express through “introspective lyricism paired with emotive soundscapes”. It’s a lofty concept on paper, but in practice; it comes across in a way that feels very grounded and sincere. Musically, Moegara brings together a blend of shoegaze, dream pop, and midwest emo, three styles that naturally lend themselves to that kind of emotional framing. The guitars carry that familiar wash of texture while still retaining enough definition to give the song shape. There’s a gentle push and pull between clarity and haze, which mirrors the introspective tone they’re aiming for. What stands out to me is how cohesive it all feels. Rather than pulling from these influences in a way that feels piecemeal, Sasakure weave them together beautifully.

ゆれる/yureru
by サヨナカ (sayonaka)
Well you don’t see that often

Continuing this alternative rock stretch of the Roundup is a band with a fairly unique setup in the space; Sayonaka, who feature twin female vocals at the forefront of their sound. It’s not something you come across all that often, or at the very least not in this particular lane of Japanese alternative. The last time I remember encountering a similar configuration was with fuyusuruneko from a few years back, which in itself makes Sayonaka stand out almost immediately. That said, the way Yureru comes together actually reminds me more of Split end than anything else. There’s a comparable emotional tone to the song, where the instrumentation builds atmosphere while the vocals carry the emotional weight of the track. The dual vocal approach adds an interesting layer to that dynamic. The two voices complement each other, sometimes blending together, other times separating just enough to create a sense of depth. It gives the song a slightly different texture compared to the more traditional single-vocal setup, and it’s something that helps distinguish Sayonaka within an already crowded field.

tsubomi
by nous
04:10~ That’s the stuff

Rounding out this run of Japanese alternative rock features is four-piece nous with their latest track tsubomi, and yes, your obligatory male vocal slot for the month has officially been fulfilled (JK). One thing that immediately stood out to me here is the presence of a familiar name, UTERO, who we already heard earlier in the Roundup through their work with gl1tch.bby. This time around, UTERO is responsible for some of the guitar work and arrangement on tsubomi, and you can very much hear that throughline between the two tracks. The guitars here carry that same kind of beautiful melodic quality, steeped in a sense of nostalgia that feels very much in line with the broader trends we’ve been seeing across the scene. There’s an atmospheric quality to the way everything is layered, giving the song a sense of space without losing its melodic core. Another highlight for me comes from bassist Mero’s backing vocals, which add a really nice texture to the track. There’s something about the way those harmonies come in that reminded me a bit of CRUNCH from a couple of years back.

MUST LISTEN:
“Chidori” by Yorushika and “Moegara” by Sasakure
I think it’s fair to say that Chidori really renewed my appreciation for Yorushika, and that’s coming from someone who has been following their music pretty much since the inception of the Roundup. Over the years, I’ve always respected the depth and intentionality behind their work, but this latest release hit me in a way I wasn’t quite expecting. To that end, I’m actually going to extend this spotlight beyond just the track itself and toward the entirety of Nininshou. Taken as a whole, I genuinely think this stands among Yorushika’s best work to date. There’s a lightness to it, a sense of openness that makes it feel more approachable compared to some of their earlier releases, while still retaining that signature musicality that defines them. On the other hand, if you know anything about me and my preferences, you already know I’m an absolute sucker for midwest emo. We’ve had plenty of great guitar work across this month’s Roundup, but Sasakura really stood out with their more post rock kind of approach with Moegara.

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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!

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 hurting for even more songs to check out, the Roundup Extended Playlist for March 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!

We held the J-Music Advance Party again this month, where we ended up featuring some bangers as per usual (trust, JK). One of the biggest standouts from what I talked about in this month’s feature is, of course, the album that I’ve yet to put down in Yorushika’s Nininshou which you’ve just seen me praise to high heaven. For those who might be unaware, the Advance Party is my separate Substack newsletter where I spotlight upcoming Japanese album releases I’m personally most excited about each month. Think of it as the pre-game show to the Roundup, a place where we talk about what’s on the horizon before it officially drops. If that sounds like your kind of thing, consider subscribing! It’s completely free, and you’ll get notified every time a new issue goes live. You’ll also unlock access to all past issues, which makes for some fun backtracking if you’re ever in discovery mode. The next Advance Party is scheduled for April 5, 2026. Hope to see you there!

Also back to bring in some color to your guys’ Japanese music listening lives with a brand new pair of album reviews is the one and only J-Music Exchange/Rate! For those who might be newer around here, the Exchange/Rate is my monthly tandem album review series with my good friend and fellow Japanese music enthusiast Al from Omunibasu. Each month, we decide on a theme and assign each other albums to review within that framework. This month’s theme was albums with a certain/prominent color wherein we each spun for one another a color on a color wheel (yes, LOL), for the other person to base their album picks on. Al spun the color “green” for me, which prompted me to send what else but Furui Riho’s Green Light his way. Check out Al’s review of it at the Omubinasu Substack if you haven’t yet already! I spun “orange” on my end, which gave Al the idea to toss over SIRUP’s OWARI DIARY for me to give a couple of spins to. You can check out my review of it here!

And that’s pretty much it! Thank you all so so much for dropping 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!