How’s 2026 been treating you so far?

Yo! Long time no see! Hopefully not too long though as I welcome you guys back once again to another installment of your monthly source of Japanese music album reviews here at the J-Music Exchange/Rate! I know we’ve got some Exchange/Rate old heads tuning in this month, and if you happen to be one of them; first off, thank you all so much for continuing to drop by whenever you do. Love you guys lots. 😌 You already know the drill, so feel free to skip on ahead. If, however, this is actually your first time here and you’re not entirely sure what this series is all about, please give the following primer a quick read—

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. We then pick out albums from our respective libraries which we think best coincides with that theme. We will then give the album we chose to the other person and vice versa (exchange), after which we then listen to and subsequently review the album we were given (rate). This project has not only allowed us to explore music beyond our libraries, but it provides an opportunity for us to see our favorite albums from a different point of view. It is our hope that this series is able to do the same for you and that you either find a new artist to try out and/or we offer you a fresh take on one of *your* favorite albums 

Al and I take turns deciding the theme for each month’s reviews, and this time the ball was back in our court. We actually did something very similar around this time last year, where I had us take a look at some of our favorite releases from the first half of the year. I thought it made for a fun opportunity to pause for a moment and check in on what we’ve both been listening to over the past six months or so, while also giving us a chance to spotlight some standout releases outside of our usual year-end Album of the Year special. So naturally, I figured; why not do it again? 😄 To that end, I went ahead and had Al check out the EP 135 by indie alternative rock band wanbed, who are, in my personal opinion, one of the most exciting bands currently on the come up. You can catch what he thought of it over at the Omunibasu Substack!

Al, in turn, had me finally sit down with SunSun by the three-piece band SunSunSun; an EP that, quite honestly, I’d been meaning to get around to for a good while now.

Let’s run it!

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333 (sansansan) is a three-piece rock band features vocalist/guitarist Nakanormal, guitarist Madoka Waki (former THE TOMBOYS), and drummer Mariko Summer (former THE LET’S GO’S). Embracing the lucky number “333,” they aim to brighten up everyday life with catchy melodies and a playful sound.

＜ＳａｎＳａｎ (燦燦)＞
(＊Spotify link to the full album)

CDJapan Affiliate Link(s):
N/A

＜T ｒａｃｋｌｉｓｔ＞

０１・燃えているオレンジ
０２・回るお寿司
０３・ライカ
０４・No No No
０５・メリーはイカれてる！

Ａｌ： I think what’s funny about this month’s selection of EPs is that it happens to be very reflective of the individual tastes in Japanese rock that Leap and I each have. If you’ve read his posts or seen his tweets (or followed the E/R in general), you’ll probably know that he is no stranger to specific alternative rock bands and the raw-er, grittier sounds they often express really well. Me, on the other hand; given that I was introduced to the world of Japanese music through groups that were often seen as more upbeat and ‘palatable’ to most people, I’ve definitely developed a big appreciation for that area of the genre. Of course, I’m not implying that our tastes are too different or that one of us doesn’t like the other’s favorite subgenre; that’s very far from the truth. But in this coincidental case, it’s interesting to actually examine the contrast and realize how Japanese rock can cultivate a variety of styles, and thus a wide array of fanbases.

And I would consider the band and EP I gave Leap this month is a good example of my own preferences.

From the time I discovered 333 through a random find on YouTube (specifically “Mawaru Osushi”), to listening to the rest of this recent EP release of theirs, I could quickly tell that they view making music through a more playful and youthful lens. You can easily notice that particularly spirited ‘girls rock’ tone through the lively and catchy melodies, their frequent usage of cheery instruments like the xylophone, or how vocalist Nakanomaru sings in a way where you can’t help but to feel good and energized (especially on songs like “Laika” or “Moeteiru Orange”). And much like a lot of the records released by young, all-female rock bands, 333’s ability to tone it down for a song and show off a much different side to them is absolutely on display, as I adored the acoustic-focused and earnest ballad they included (“No No No”). It’s a down-to-earth release that, I think, fans of similar acts would enjoy as well.

Similar to the wanbed EP that Leap gave me this month, sunsun ultimately feels more like a random collection of songs than a full-on, concise release (heck, it even has a Christmas-y song on it). But even then, 333 does a fine job displaying what kind of band they are here, and because of that, they’ll for sure be on my radar from now on.

＜Ｓｏｎｇｓ　ｏｆ　Ｉｎｔｅｒｅｓｔ＞

０１・燃えているオレンジ/moeteiru orange
Starting things off for us is the EP’s opening track, Moeteiru Orange. Right out of the gate, one thing that immediately stood out to me was just how… seasoned the band’s sound is. Before you even get very far into the song, you’re greeted by these sturdy guitar riffs and energetic drum patterns that feel remarkably surehanded for otherwise a relatively new project. It’s the kind of confidence that typically comes from experience, and as it turns out, there’s a pretty good reason for that. Guitarist Waki Madoka and drummer Mariko Summer both come into 333 with prior experience from other bands, having previously performed with THE TOMBOYS and THE LET’S GO’S, respectively. What’s interesting though is that those two groups occupied fairly different corners of the rock spectrum. THE TOMBOYS largely leaned toward a more traditional rock and roll approach, whereas THE LET’S GO’S carried much stronger punk rock sensibilities. As a result, Moeteiru Orange almost feels like a meeting point between those two backgrounds.

You can hear it in the way the song balances Waki’s solid guitar work with Mariko Summer’s lively drumming. The former provides the track with a strong melodic backbone, while the latter injects it with a constant sense of momentum and movement. Neither feels particularly dominant over the other, which helps the song maintain a very natural flow from beginning to end. Tying everything together is vocalist Nakanormal. Whether or not she herself had prior experience fronting a band was something I wasn’t able to confirm while looking into the group’s background, but for what it’s worth, she certainly carries herself as though she has. There’s a comfort to her performance here that I found immediately appealing. Her singing is clear and resounding, but perhaps more importantly, it feels free. At no point does she sound overly concerned with technicality or precision. Instead, she delivers the song with the kind of ease that allows her personality to come through, making for a performance that feels every bit as confident as the instrumentation supporting it. As opening tracks go, Moeteiru Orange does an excellent job of introducing what 333 are all about. More than anything, it immediately establishes the group’s strongest asset; three musicians with enough experience to know exactly what they’re doing, while still sounding like they’re having an absolute blast doing it.

０２・回るお寿司/mawaru ozushi
If you’ve been following my writing over the past year or so, whether here on the Exchange/Rate or over on the Advance Party, one thing you’ve probably seen me bring up repeatedly is what I’ve come to refer to as “retro-theming”; the incorporation of retro influences, typically from around the mid-to-late 90s, either through an artist’s aesthetic, sound, or sometimes both. It’s a trend that I continue to find fascinating, particularly when viewed through the lens of Japanese popular culture. There’s an interesting temporal disconnect at play where certain ideas, sounds, and aesthetics that Western audiences might consider long past their nostalgic peak seem to have found renewed life within contemporary Japanese music and media. Exactly why that is is a discussion probably far beyond the scope of this review, but whatever the reason may be, there’s no denying how successful and widespread the phenomenon has become. As such, it hasn’t been uncommon to come across newer bands and artists who either fully embrace those influences or at the very least experiment with them. Mawaru Ozushi finds 333 doing a bit of the latter.

One of the more obvious indicators of this is the presentation surrounding the song itself. The accompanying music video sees the members dressed in retro-inspired clothing, while the footage is framed in an old-school 4:3 aspect ratio that immediately evokes a sense of nostalgia before you’ve even really begun paying attention to the music. The sonic touches are a little more subtle by comparison, but they’re definitely there if you’re listening for them. The drums carry a slightly muffled quality to them, the bass has a pleasantly fuzzy texture, and there are bits of electronic and synth-driven accompaniment floating around the background that help reinforce the overall aesthetic. What I appreciate though is that 333 never fully commits to turning the song into a nostalgia exercise. Despite the retro influences, Mawaru Ozushi still feels very contemporary. A large part of that comes down to Nakanormal’s vocal performance, which retains a youthful and playful energy throughout. More importantly, the song itself is just kind of silly in the best possible way.

０３・ライカ/laika
I’m sure, like most people coming into this EP as their first exposure to 333, it probably takes until around this third track for the band’s identity to really start coming into focus. Up to this point, it would be easy to assume that the group is primarily drawing from their punk and rock’n’roll roots, or perhaps that they’re aiming to position themselves within the broader retro-themed movement that’s been popping up across Japanese music lately. By the time Laika rolls around though, I think it becomes much clearer that neither of those things are the band’s primary objective. More than anything else, 333 just seem interested in making fun songs. Now, that might sound like faint praise on paper, but I don’t actually mean it that way. In an era where it often feels like bands are constantly trying to establish a concept or an identity, there’s something refreshing about a group that appears content with simply creating music that people enjoy listening to. And even a happy-go-lucky track like Laika has quite a bit going on under the hood. For one, Waki Madoka once again turns in some really lovely guitar work throughout the song. The riffs aren’t particularly flashy, but they’re incredibly effective at keeping the track moving forward. Paired with the bass lines, courtesy of the band’s support player, the whole thing develops an infectious bounce that gives the song a ton of energy without ever feeling rushed.

This is also the point in the EP where we get to hear the most exertion from vocalist Nakanormal. Listening more closely this time around, I found myself paying particular attention to the tonal quality of her voice. There’s something about the way she approaches her higher notes and vocal runs that reminded me quite a bit of singer-songwriter Nishina. Not necessarily in terms of overall style, but in the texture of the voice itself. Both singers possess this somewhat woodwind-like quality when reaching upward in their range, where the notes feel less projected and more like they’re naturally flowing out of them. It’s a really interesting sound. That being said, I can also see it being somewhat of an acquired taste. There are moments throughout Laika where Nakanormal’s delivery becomes a little rough around the edges, occasionally bordering on tinny. Under different circumstances, I could imagine that being something that turns certain listeners away. At the same time though, I think it works here. The carefree nature of the performance feels entirely in line with the song itself, and more broadly with the personality 333 have been presenting throughout the EP. For better or worse, if I had to point to the weakest showing on the EP, it would probably be Laika. Not because it’s a bad song by any means, but because it’s the track where some of the band’s strengths and weaknesses are most readily apparent. Even then, there’s still a lot here to enjoy, which perhaps says more about the overall quality of the EP than it does about the song itself.

０４・No No No
Our final featured track, and for all intents and purposes the closing song of the EP, is No No No. I say “for all intents and purposes” because there is technically one more track that follows it on SanSan. However, seeing as Mary wa Ikareteru is very much a Christmas-themed song, I’ve always mentally categorized it as more of a bonus track than part of the EP proper (lol). That leaves No No No to serve as the emotional send-off, and I think it does so remarkably well. After an EP largely characterized by upbeat tempos, spirited performances, and an abundance of youthful energy, the band opts instead to dial things back considerably here. Gone are the driving guitar riffs and more forceful drumming that had been carrying much of the release. In their place is a much more subdued arrangement centered around an acoustic guitar, lighter percussion, and a generally more relaxed pace. It’s by far the biggest stylistic departure on the entire EP.

Now, admittedly, that statement is working with a fairly small sample size given that SanSan is only a handful of songs long to begin with. At the same time though, I think it says quite a bit about the range that 333 have already begun to demonstrate this early into the band’s career. On one hand, it reminds me of just how young the group still is, or perhaps more accurately, how early I am into my own experience listening to them. Songs like No No No serve as a pleasant reminder that the band is still capable of surprising listeners, particularly those of us who are only just beginning to familiarize ourselves with their music. On the other hand, it also speaks to the band’s overall potential. Because what No No No shows is that 333 aren’t confined to the more energetic rock-oriented approach that occupies much of the rest of the EP. They have the ability to pull back, embrace quieter arrangements, and allow the songwriting to stand on its own without relying on sheer momentum to carry the listener forward. Personally, I find that really encouraging. It’s always exciting when a young band demonstrates they have more than one trick up their sleeve, and No No No feels very much like one of those moments. Whether they continue exploring this gentler side of their sound moving forward or simply choose to revisit it every now and again, I like knowing that it’s there. It adds another dimension to the band’s identity and, if anything, makes me even more curious to see where they decide to take their music from here.

＜Ｗｈａｔ　Ｉ　ｔｈｉｎｋ　ｏｆ　Ｓａｎｓａｎ ＞

Every now and again, you come across a band that’s only just getting started, and after listening to them for a little while you can’t help but think to yourself, these guys sound like they’ve been doing this for much longer. At the very least, that’s the impression I came away with after listening to SanSan. Now, to be fair, a good portion of that undoubtedly stems from the backgrounds of the band’s members. With guitarist Waki Madoka and drummer Mariko Summer already having spent years honing their craft in THE TOMBOYS and THE LET’S GO’S, respectively, there was already a strong musical foundation upon which 333 could build. That experience comes across almost immediately throughout the EP, whether it’s in the confidence of the performances, the tightness of the arrangements, or simply how naturally the three members play off one another. More than that though, there’s something about the band’s overall spirit that I found particularly endearing.

It’s admittedly a little difficult to put into words, but listening to SanSan, I couldn’t shake the feeling that there’s an old girls rock soul at the heart of everything they’re doing. Not in the sense that they’re trying to recreate the sound of bands that came before them, but rather in the way they approach songwriting and carry themselves as musicians. There’s an earnestness to their music, a straightforwardness that places the emphasis on writing enjoyable songs above all else. In that respect, I found myself being reminded quite a bit of SHISHAMO. Not because the two bands necessarily sound alike, but because they share a similar philosophy toward making guitar-driven pop rock that’s approachable, energetic, and above all, fun. It’s the kind of music that doesn’t need an elaborate concept or an overarching narrative to justify its existence. Sometimes a great hook, a solid rhythm section, and three musicians clearly enjoying themselves is more than enough.

Now, of course, given SHISHAMO’s recent departure, I think it’s still far too early to start placing that sort of expectation on 333. After all, SanSan is only the band’s second EP, and they still have plenty of room to grow and discover exactly what kind of band they ultimately want to become. That said, if this release is any indication, they’ve gotten off to a more than promising start. More importantly, they’ve already accomplished something that I think is considerably harder than simply writing good songs; they’ve made me genuinely excited to hear what comes next. And for a young band only two EPs into their career, I don’t think you can ask for much more than that.

＜Ｍｙ　Ｒａｔｉｎｇ＞


４.７５ ｏｕｔ ｏｆ ５

＆

９.５ ｏｕｔ ｏｆ １０

I wouldn’t be surprised at all to see 333 make some serious waves given enough time. Now, if you’ve been following my writing for any appreciable length of time, you’ve probably grown a little tired of hearing me lament the future of girls rock every now and again (lol). But it’s a conversation that has only become more relevant over the past year, particularly with one of the genre’s longest-standing torchbearers, SHISHAMO, having recently laid down their instruments. Whether intentionally or not, it feels as though we’re slowly entering the beginning of a new era, one where a younger generation of bands will gradually step forward to carry the genre into its next chapter. Of course, there are already quite a few groups well ahead of 333 in that regard. Plenty of newer bands have spent the last several years carving out their own identities and establishing themselves within the current landscape. Even so, I really don’t have much trouble imagining 333 eventually joining those ranks. There’s obviously still plenty of room for them to grow. This is, after all, only their second EP. But if this release is any indication of what they’re capable of this early on, then I think the future is looking awfully bright for them. And who knows? Maybe a few years from now, we’ll all look back on SanSan as one of those releases that hinted at something much bigger waiting just around the corner.

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What are your guys’ thoughts on SanSan by 333? Let us know down in the comments! Likewise, be sure to share some of your favorite Japanese music releases from the year thus far. We’d love to hear what albums and EPs have been on repeat for you these past few months!

Before I let you guys go, don’t forget to check out Al’s review of 135 by wanbed over at the Omunibasu Substack if you haven’t yet already!

Happy Listening!