An a-MAY-zing month of Japanese music!

Nailed it. *ehem* Yes! Hi, and welcome! Welcome back, I should say, to the one and only Monthly Recommendation Roundup! If you’re already well aware of what we do around here, which I’m sure quite a lot of you already are, feel free to skip all the preamble and head straight for the music. However, if this is actually your first time stumbling across the series, regardless of however you happened to find it, please allow me a moment to explain.

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 VERY excited to share this month’s offerings with you guys, so without further ado;

Let’s get to it!

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sagittarius
by kurayamisaka
Man I love them so much

Starting things off for us this month is a band whose praises I genuinely could not sing enough of last year; none other than kurayamisaka. To those of you who followed the Roundup Awards, you might recall that their incredible album Kurayamisaka yori ao wo komete ultimately walked away with my award for Favorite Album of the Year. Suffice it to say, my expectations for anything they do these days are pretty much through the roof. This time around they’re bringing us a song that may already sound familiar to some of you. More specifically; if you happen to keep up with the alternative idol scene, you may recognize sagittarius as a song previously performed by RAY. Even then though, when RAY’s version first came out, I remember it being immediately apparent to longtime kurayamisaka listeners whose fingerprints were all over the composition. The melodic sensibilities, the guitar work, the emotional undercurrent running through the song; it very much felt like a kurayamisaka song regardless of who happened to be performing it. Now we finally get to hear the band tackle it themselves. And while I genuinely do love RAY’s rendition; probably more than a little, if I’m being honest; hearing kurayamisaka perform sagittarius serves as a reminder of what it is about this band that resonates with me so deeply. A large part of that comes from vocalist Naito Sachi. Compared to the airy, fleeting quality that RAY brought to the track, Naito’s singing feels remarkably transparent. Her voice doesn’t so much float above the arrangement as it does move through it; allowing the emotions embedded within the instrumentation to come across more directly.

I try
by tiny yawn
Actually just so beautiful

Next up we have the return of tiny yawn; arriving fresh off the release of their brand new EP into the blue., which came out just a couple of weeks ago. If you’ve been keeping up with the J-Music Advance Party, you might remember us talking about it there as well; definitely give that issue a look if you haven’t yet already. Back in March’s Roundup, we found ourselves speculating a little bit about where the band might go next stylistically. More specifically; whether or not they would end up revisiting some of the math rock tendencies that were much more prominent in their earlier work. That conversation came about largely because of nine lives, which felt like a notable step back in that direction despite the band’s apparent inclination over the past few years to broaden their sound beyond those roots. And honestly; I think we were at least half right. Whether I’d go as far as calling into the blue. a full return to form is another discussion altogether, but there is definitely a renewed emphasis on rhythm and melody throughout the release compared to the more atmospheric approach that characterized much of their previous EP. Personally, that’s always been where tiny yawn shine the brightest. One thing I was particularly happy to hear make a return was their use of vocal layering. It’s something the band utilized quite a bit in the past, and I try puts it front and center. The effect works wonderfully here, not least because vocalist Takahashi Megumi possesses the exact kind of voice that lends itself to that approach.

ライトソング/light song
by CRAZY BLUES
Their big break can’t come soon enough

A band I’m genuinely happy to see on the rise is Kyoto-based three-piece CRAZY BLUES; who return this month with their brand new single Light Song. If you happen to recall, we first featured the band back in 2024 with Natsuyo no Kioku; a track that immediately showcased their innate knack for shoegaze and dream pop. At the time, I remember jokingly lampshading the fact that they were entering a scene that was already beginning to feel a little crowded with similarly minded bands. Even then though, what stood out to me wasn’t necessarily the style itself, but rather how well they were executing it. More than anything else, I came away from that first impression feeling that CRAZY BLUES were remarkably polished for a band at their stage of development. Their understanding of dynamics, texture, and arrangement felt far beyond what I would’ve expected given their tenure. To me, that suggested a group that was simply very technically sound. And when a young band possesses that kind of foundation, it opens up a lot of possibilities. Based on their releases over the past year, it seems they’ve gradually settled into a warmer, more homey alternative rock sound. While traces of those shoegaze and dream pop roots remain present, the emphasis now feels much more centered around songwriting and melody. In that regard, I couldn’t help but be reminded of bands like Hitsujibungaku. Personally, I think CRAZY BLUES have landed on the right approach here.

シャツ/shirt
by 皆川溺 (minagawa obore)
Ayy it’s my guy

Filling my monthly quota for male vocals (lol) is none other than Minagawa Obore; who makes his first appearance this year in the opening half of the Roundup with his latest single, Shirt. At this point, I feel like one of the things I enjoy most about Minagawa Obore’s music is the very specific sense of nostalgia it evokes whenever I listen to it. Now, to be fair, that’s probably par for the course when your sound is so heavily informed by 90s and early-2000s indie and alternative rock. Add in the retro-themed visual presentation that often accompanies his releases, and it’s not exactly difficult to see where that feeling comes from. As a result, the nostalgia never feels forced; it just naturally emerges as part of the listening experience. Of course, a huge part of that comes from the band he’s assembled around his solo project. One thing that has consistently impressed me since discovering his music is how well everyone involved seems to understand the assignment. There’s a strong sense of cohesion throughout the arrangement. The guitars in particular continue to be the standout element for me. They carry much of the emotional weight of Shirt; alternating between melodic flourishes and textured passages that give the track its character. It’s the kind of guitar work that immediately catches my attention; not because it’s overly flashy, but because it’s so effective at establishing mood and atmosphere.

SUNNY DEAD YOUTH
by MoritaSaki in the pool
Just a rad album overall

On the subject of nostalgia trips; driving the entire bus this month is twin-vocal alternative rock band MoritaSaki in the pool, who return with material from their second full-length album KIDCORE SCULPTURE; which, in my own personal and admittedly biased opinion, is one of the best albums to come out in May. Back when I featured it in this month’s Advance Party, I remember spending a decent amount of time trying to figure out what exactly “kidcore” was supposed to mean in this context. Knowing the band’s sound, my working theory was that it referred to the distinctly late-90s and early-2000s alternative rock influences that run throughout their music; perhaps even a nod to the kinds of songs and bands the members themselves grew up listening to when they were younger. Hence; “kid”-core. Sure enough, that’s pretty much exactly what we got; and then some, with SUNNY DEAD YOUTH is one of the strongest examples of that approach. One particularly fun bit of trivia surrounding the track comes from vocalist and composer Ishihara Riku, who noted that the song originated from him singing Michael Fortunati’s Give Me Up to the melody of DJ OZMA’s Age Age Every Night of all things. Neither song is remotely alternative rock, of course, but they are exactly the sort of songs that many people of a certain generation would’ve grown up hearing. In a weird way, that anecdote perfectly encapsulates what MoritaSaki in the pool are doing here; taking fragments of memory, nostalgia, and youthful experiences and reshaping them into something new.

Ukiyo
by appi
Underrated is an understatement

If the back half of this month’s Roundup hasn’t clued you in already; I’ve just been in a particularly alternative rock kind of mood lately. And honestly, how could I not be when you’ve got artists like appi coming out with releases like Red Comb? I keep bringing up this month’s Advance Party issue, but that’s only because the releases featured there ended up delivering in a big way. In appi’s case though, the album wasn’t even originally part of the lineup. It actually snuck in as a last-minute addition after I happened upon it by chance while scrolling through my feed during the first week of May. I picked it up almost completely blind; and within a few songs I already knew I had to find room for it. The project is headed by Hisana (whom some of you may recognize as the guitarist for the band nim). Under the appi name, Hisana describes the music as a crossover between shoegaze, dream pop, post-rock, and emo. That’s a combination that’s naturally going to catch my attention, but more importantly; it’s one that actually comes through in the music itself. You can get a feel for that immediately with Ukiyo. There’s a dreamlike quality to the arrangement that feels very shoegaze and dream pop in spirit, while the emotional weight and melodic sensibilities lean more toward post-rock and emo. The result is a track that gently washes over you in a haze of melody and texture. It’s the kind of song that invites you to slow down for a few minutes and get lost in its atmosphere.

上京/joukyou
by 海風邪 (umikaze)
Keep an eye out

Earlier we were talking about a release from a twin-vocal band being one of my favorites from this past month. Something must be in the water because these next few features tucked away here in the back half of the Roundup all seem to be arriving with a similar setup; perhaps none more notable than Koenji-based five-piece umikaze, who are coming to us fresh off the release of their highly anticipated debut EP Watashi no yume wo miteitene. As you’ll hear in Joukyou, the band primarily operates within the shoegaze and dream pop sphere, though I think it’d be a little inaccurate to leave it at that. Compared to many of their contemporaries, umikaze’s music carries a noticeably brighter disposition. If I were forced to put a label on it, my best approximation would probably be something closer to jangle pop. Of course, all of that genre talk aside, more than anything else, umikaze are simply a pleasant band to listen to. Interestingly enough, the band’s name literally translates to “sea cold”; as in the common cold you catch. While I haven’t come across an explanation as to why they chose it, I can’t help but feel like I understand it a little whenever I listen to their music. There’s a sort of feverish warmth present throughout their songs. Not the uncomfortable kind associated with actually being sick, but rather that oddly nostalgic sensation of overextending yourself on a perfect day. Like spending far too long at the beach; staying out well after you probably should have; and then carrying that lingering warmth home with you afterward.

weird world
by Spit lulu’s
That chorus is soooo good

Though the male vocals sit a little further back in the mix here for one to truly call them a traditional twin-vocal band, I would still count Tokyo-based four-piece Spit lulu’s among them. The reason is that the secondary vocals contribute far more than simple harmonization. They’re an integral part of the band’s overall sound; functioning almost as an additional instrument within the arrangement. That’s especially apparent on weird world, where those vocals help cut through the dense wall of sound while simultaneously creating separation from the female lead vocal. As a result, the song develops this wonderfully rich and condensed soundscape. Layers upon layers of guitars, melodies, and textures are constantly moving around one another, yet it never feels cluttered. Instead, the vocals act almost like a guide rope through the song; allowing you to freely wander through all that instrumentation while ensuring you never lose sight of the melody. What I find most impressive about weird world though is its length in that it’s considerably longer than what most bands would realistically attempt in the streaming era. Yet somehow, every time I listen to it, I reach the end and immediately realize I wasn’t paying attention to the clock at all. I’ve found over the years that longer tracks tend to serve as something of a personal litmus test for me. Once a song starts creeping past the three-and-a-half or four-minute mark, it needs to justify that extra runtime somehow. Not necessarily by being more complex or more ambitious; but by remaining engaging enough that you’re not actively aware of how long you’ve been listening. That’s exactly what Spit lulu’s accomplish here.

lungfish
by noema
Yeah, no, 0.01 seconds in I was already a fan

Closing out this month’s completely unplanned twin-vocal special feature is perhaps my favorite new discovery of the bunch; Tokyo-based four-piece noema. I’ll be honest; I wasn’t able to find out a whole lot about the band while preparing for this month’s Roundup beyond the fact that they appear to have started activities toward the end of 2021 and the handful of releases they’ve put out since then. Sometimes that’s just how it goes with younger bands operating a little further below the radar. That said; hearing lungfish for the first time pretty much told me everything I needed to know. Namely; that I enjoy this band’s sound a great deal. If I were to broadly characterize noema’s music, I’d say they occupy a fairly wide rock/pop rock lane. Depending on the song, they can drift closer toward pop sensibilities or lean more heavily into guitar-driven arrangements. Interestingly enough, lungfish actually feels like something of an outlier within their existing catalog. At least based on my admittedly pedestrian assessment after spending some time with their discography, the track carries a little more bite than some of their other releases; embracing a slightly more aggressive alternative rock approach. Not that I’m complaining of course. Even then though, what ultimately puts the band over the edge for me is vocalist Takami. If you’ve spent any amount of time reading these Roundups over the years, you’ve probably already figured out that I have a particular weakness when it comes to female vocalists with a deeper register. It’s one of those things that consistently catches my attention no matter the genre. Takami’s voice falls squarely into that category; possessing a richness and fullness that immediately stands out against the backdrop of the band’s instrumentation.

dead leaves
by elsie sue
New beginnings indeed

Our final feature for this month’s Roundup comes to us by way of indie dream pop and bedroom pop outfit elsie sue; who are returning from a hiatus that has lasted roughly four years. What’s particularly interesting about dead leaves is that it exists in something of a transitional space for the band. Supposedly, this was the final song recorded by the original lineup before activities came to a halt. With the band set to formally resume operations next month alongside a newly announced lineup, the track now serves as both a closing chapter and a bridge toward whatever comes next. I’ve always found situations like this fascinating. Whenever a band returns after an extended absence, one of the first questions that inevitably comes to mind is whether they’ll even sound like the same group anymore. Ultimately, I imagine a lot of that depends on who was steering the creative direction in the first place. If that’s the case here, then I’m very much looking forward to hearing more from elsie sue. Because if dead leaves is any indication, they still possess a wonderful grasp of dreamy atmosphere. The song has this lovely glow to it; shimmering softly from beginning to end without ever becoming overly dense or overwhelming. Everything feels light and weightless, drifting along at its own pace while maintaining a strong melodic core It’s exactly the kind of dream pop that I find myself gravitating toward.

MUST LISTEN:
“SUNNY DEAD YOUTH” by MoritaSaki in the pool and “lungfish” by noema
Pretty clear-cut picks this time around. I’ve already spent a fair amount of time gushing about KIDCORE SCULPTURE throughout this feature, so I’ll spare you from having to sit through me doing it all over again (for now). That said; I really cannot recommend the album enough. SUNNY DEAD YOUTH is a fantastic song in its own right, but more than that, it serves as an excellent snapshot of what MoritaSaki in the pool are trying to accomplish across the record as a whole. If you’re anything like me and have a soft spot for that late-90s and early-2000s alternative rock sound, there’s a very good chance this album is going to click with you. On the other side of things; we have noema with lungfish, which ended up being one of my favorite discoveries from this entire batch of songs. Sometimes a band only needs one song to make a strong first impression, and that was very much the case here. Between the band’s alternative rock sensibilities and Takami’s deeper vocal register that immediately caught my attention, lungfish was the kind of track that had me searching for more as soon as it ended. I’m genuinely hoping we get to hear more from noema moving forward. They made a really strong account of themselves with this release, and if this ends up being representative of the kind of music they intend to keep making, then I have a feeling they’ll fit very comfortably within the corner of the music world that I’ve found myself spending more and more time in lately.

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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 still looking for even more songs to check out after all that, the Roundup Extended Playlist for May 2026 is now live! For those of you who might be new to the series, these Extended Playlists (or EPs) highlight additional tracks I enjoyed throughout the month but didn’t quite have room to feature in the main article.

As always, there’s plenty of good stuff waiting for you there, so be sure to give it a look once you’re done here.

What did you guys think of this month’s Roundup? Let me know down in the comments! Likewise, if you’ve got your own recommendations from the past month, feel free to share those too. One of my favorite parts about doing this series has always been finding out what everyone else has been listening to, so don’t be shy about showing off a favorite song, album, band, or artist you’ve come across recently. I’d love to hear what’s been on your playlist!

I was raving about them the entire time, but I really can’t stress enough just how well the albums featured on last month’s J-Music Advance Party ended up delivering. appi, tiny yawn, Ako, MoritaSaki in the pool, and Mimi wo Kou Mono Me wo Kakusu all brought their A-game with their respective releases, making all that anticipation completely worthwhile. For those who might be unfamiliar, the J-Music Advance Party is my separate Substack newsletter where I spotlight upcoming Japanese album releases that I’m personally most excited about each month. Think of it as the pre-game show to the Roundup; a place where we get to talk about what’s on the horizon before it officially arrives. If that sounds like your kind of thing, consider subscribing! It’s completely free, and you’ll get notified whenever a new issue goes live. You’ll also gain access to all of the previous installments, which can make for some pretty fun backreading whenever you’re in discovery mode and looking for something new to listen to. The next Advance Party is scheduled for June 7, 2026. Hope to see you there!

Also making its return this month is the J-Music Exchange/Rate and, would you look at that, the series officially celebrated its sixth anniversary this month! To mark the occasion, Al and I decided to do something a little different and put together an extra special pair of reviews. Rather than tackling brand new albums, we each went back and revisited records that we had rated fairly low the first time around to see whether time, experience, and a fresh set of ears might change our perspectives. Over at the Omunibasu Substack, Al gave girls like girls by yonige another shot. If you haven’t checked it out yet, I highly recommend giving his review a read. As for me, I revisited JUNCTION by Hayami Saori. Whether my thoughts about it changed or not, you’ll have to read the review to find out 😉 You can catch my review of it here!

And that’s pretty much it! Thank you all so, so much for stopping by whenever you do. Whether you’ve been following the Roundup for years or only just recently found your way here, it genuinely means a lot to me that you’d spend a little bit of your time talking about and listening to Japanese music alongside 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. 😌

Until next time; Happy Listening!