Summer’s in full swing! 🌻

Which, if you’re anything like me, means trying your absolute best to stay out of the sun while simultaneously listening to songs that somehow make you want to go outside anyway. A bit of a conundrum, admittedly (lol). At any rate, Hello, hello! Welcome back to another edition of the Monthly Recommendation Roundup!

If you’re already a Roundup regular, you know the drill and are more than welcome to skip ahead to the music. If, however, this is your first time stumbling across the series, please allow me just a moment to explain what exactly it is we do around these pa

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

July ended up being another fantastic month. We got some long-awaited releases finally seeing the light of day, a handful of artists making welcome returns to the Roundup, and, as has seemingly become tradition around here, another healthy helping of alternative rock for yours truly. Safe to say, there was plenty to keep me occupied these past few weeks and I’m very excited to share them all with you. So, without further ado;

Let’s get to it!

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たりない/tarinai
by muque
They still got it

Topping the marquee for us this month is a name that should need no introduction by this point given how often they find themselves making appearances around these parts; none other than muque, who return to the Roundup with their brand new anime tie-in single Tarinai, currently serving as the ending theme for the anime adaptation of Liar Game. If you’ve been keeping up with the Fukuoka three-piece as closely as I have, or at the very least have been following along whenever they make an appearance here on the Roundup, you’ll know that one of the biggest storylines surrounding the band this year has been how they would move forward following the departure of longtime bassist Lenon. More specifically, I was curious to see just how much that change would affect the band’s identity. We got our first real answer with the release of their second full-length album GLHF, which saw muque lean much more heavily into guitars, synthesizers, and Takachi’s electronic production. It was a logical evolution for the band, and one that ultimately worked quite well, even if it did leave me wondering whether we’d ever hear that unmistakably groovy side of muque again. Lo and behold, Tarinai turns the clock back in the best possible way. From the moment the song gets going, there’s a distinct, almost deliberate emphasis on the bass. It’s the first thing that jumped out at me, and I honestly couldn’t help but smile. Whether intentional or not, it almost feels as though the band are reassuring longtime fans that those infectious grooves haven’t gone anywhere. If that’s the message they’re trying to send, then you already know I’m completely on board.

ドラマ/drama
by chilldspot
Perhaps the title is actually more on the nose than you think

Another Roundup favorite makes their return this month in chilldspot, whom we last saw back in March, now back with their newest single, Drama. One thing I feel like we inevitably end up talking about every time chilldspot appear here is just how remarkably consistent they’ve been throughout their career. In my opinion, that’s always been one of the band’s greatest strengths. More often than not, you know exactly what you’re going to get when you press play on a new chilldspot song, and that’s another effortlessly groovy track backed by impeccable musicianship. Interestingly enough though, Drama bucks that expectation more than I can remember any recent chilldspot release doing. In fact, I’d go so far as to say this is the most straightforward rock song the band have put out in quite some time. One of the biggest giveaways is the bass. Normally, it’s the instrument that immediately grabs my attention whenever I listen to chilldspot. Those unmistakable grooves have become something of a trademark for the band over the years, acting as the backbone for so much of their music. Here though, that presence is noticeably dialed back, allowing a much more swaying guitar-driven melody to take center stage. The same can be said of vocalist Hiyune. Where she typically approaches melodies with an almost improvisational sense of freedom, her performance on Drama feels considerably more restrained. The more I listened to it, the more I found myself thinking that the band were intentionally drawing from the kind of music you’d associate with Japanese television dramas (hence maybe the title). There’s a warmth and earnestness here that immediately brought artists like back number to mind, particularly in the way the song builds toward its more emotional moments. It’s a fascinating direction for chilldspot to explore.

Blades
by RAINBOW BELTZ
Remind me to play this song on a rainy day

On the subject of favorites, one band that has very quickly become one of mine despite their relatively short history here on the Roundup compared to someone like muque or chilldspot is Tokyo-based alternative rock outfit RAINBOW BELTZ. They’re actually one of the many bands I’ve had the pleasure of discovering after I began curating my Japanese-style alternative playlist over on Spotify and Apple Music. Spending so much time listening through new releases each week has made me far more aware of the incredible talent currently emerging within the scene, and RAINBOW BELTZ were one of those bands that immediately stood out. Of course, one thing I’ve also come to realize the deeper I’ve immersed myself in Japanese alternative rock is just how many shared musical sensibilities exist between bands. That’s by no means a criticism; rather, it’s simply the nature of a healthy scene where artists are constantly inspiring one another. Even among the more recognizable names, what tends to separate one band from the next often comes down to something much more intangible; an almost ephemeral quality in the songwriting that’s difficult to articulate until you hear it for yourself. For RAINBOW BELTZ, I think one of those distinguishing characteristics lies in their decision to write and perform almost exclusively in English. Not that I believe one language is inherently better suited for this kind of music than another. It’s simply a choice that immediately gives the band a distinct identity within the scene. It certainly helps that vocalist Miyu delivers those lyrics beautifully. Another hallmark that’s beginning to emerge is their guitar work. Blades puts that on full display, with dense, emotionally charged guitars driving the song from beginning to end. Compared to some of their previous material, this one leans a little further toward emo. Paired with Miyu’s ethereal vocals, the contrast makes for a track that feels simultaneously weighty and delicate; a balance that RAINBOW BELTZ continue to pull off remarkably well.

夏の幻/natsu no maboroshi
by ねぎ塩豚丼 (negishiotondon; “Negiton”)
Still so very promising

Making their long-awaited return to the Roundup is ultra-promising four-piece Negishiotondon from Gotanda, who are back with their brand new single, Natsu no maboroshi. As you might expect from the title alone, this is a song that absolutely embraces the summer season. The first thing that struck me was the guitar melody, which immediately reminded me of last month’s Whale Net by Beachside Talks. There’s just something about the way it sparkles throughout the song that I can only describe as sounding like it belongs in a Pocari Sweat commercial. Bright, refreshing, and effortlessly uplifting; it’s exactly the sort of melody that makes you want to throw on a pair of headphones and go for a walk on a sunny afternoon. A lot of what made “Negiton” such a standout when we first featured them is still very much present here. The band’s knack for writing memorable melodies remains intact, and they continue to strike a wonderful balance between youthful exuberance and polished musicianship. One thing I especially appreciated this time around though was the increased role given to guitarist Sae’s vocals. It should be noted that Sae was previously the frontwoman of the band Shekarashika before joining Negishiotondon, so she’s certainly no stranger to taking the lead. While Oosato Nao is unquestionably the face and primary vocalist of the band, I’ve always been rather partial to Sae’s singing myself. Her voice has a warmth that complements Nao’s beautifully, and hearing it brought further into the foreground here was a really welcome surprise. Whether this ends up being something unique to Natsu no maboroshi or the beginning of a more permanent shift in the band’s vocal approach remains to be seen. Personally though, I’d love to hear them continue exploring that dynamic moving forward.

Young Dudes
by miida
Yeah no she literally does say “young dudes”, lol

Speaking of bands we haven’t seen in quite a while here on the Roundup, miida also make a welcome return with their first release of the year, Young Dudes. Those of you who’ve been following the series for some time, or perhaps came into Japanese music through Negoto like I did, might remember that miida was originally formed by Masuda Mizuki following Negoto’s dissolution. Since then, the project has undergone quite a few changes, at one point even becoming a solo venture before eventually settling into its current three-piece lineup alongside bassist Abe Makoto, formerly of Za Ningen, and drummer Hikosaka Gen of RAMMELS. Given how many moving parts the project has seen over the years, it probably comes as little surprise that miida’s music has never really confined itself to one particular style. Rock, electronica, and just about everything in between have all found their way into the band’s discography at one point or another. Interestingly enough, miida have described this current incarnation of the band as finally possessing a “singular sonic identity”. I’m personally not entirely convinced. Not because I disagree with the sentiment, but rather because Masuda has always struck me as someone who’s happiest when exploring new ideas. Even if the band’s foundation is now more clearly defined than before, I have a hard time imagining them ever completely moving away from that experimental streak that’s made the project so enjoyable to follow in the first place. Case in point being this song here. This is honestly unlike anything I’ve heard from miida before. The song leans heavily into an unmistakably 80s synth wave aesthetic, bathing everything in shimmering synthesizers and a warm nighttime glow that feels tailor-made for the middle of summer. It’s the sort of track you instinctively associate with driving through city streets long after the sun has gone down, windows rolled down and nowhere in particular to be.

Utopia
by パターソン (paterson)
Everyone’s just lost in a crowd in these PVs it seems (lol)

Starting things off for us here in the back half is a band who, like so many others that find themselves occupying this portion of the Roundup, I’ve been wanting to feature for the longest time. This time, that honor goes to two-member alternative rock outfit Paterson. I’ll admit that what initially drew me to the band, and I’m willing to bet this was the case for quite a few listeners outside of Japan as well, was their name. “Paterson” is distinctive enough that it naturally catches your eye while scrolling through a feed, and I’d imagine it plays rather nicely with the algorithms too. Of course, stumbling upon a band is one thing. Actually sticking around is another. Thankfully, Paterson’s music gives you every reason to do just that. Now, to be fair, theirs isn’t necessarily the flashiest sound you’ll come across. “Utopia” firmly plants itself within the shoegaze tradition, a space that’s become wonderfully populated over the past few years both here on the Roundup and within Japanese music as a whole. As such, they’re not exactly trying to reinvent the wheel. What I do appreciate though is just how… simple it is. Rather than throwing layer upon layer into the arrangement for the sake of density, Paterson seems more keen on the mood of the song itself. The guitars gently wash over you, and before you know it you’ve found yourself transported into those familiar dreamlike soundscapes that make this style of music so appealing in the first place. The fact that all of this comes from just a two-member unit makes it all the more impressive. Utopia originally appeared on the band’s debut EP, which was released in July of last year, making this new PV something of a one-year anniversary celebration for the song. Personally, I’m really glad they chose to revisit it. It gave me the perfect excuse to finally feature a band that’s been sitting on my “I really need to write about them someday” list for far longer than I’d like to admit. Here’s hoping this won’t be the last time we see Paterson around these parts.

愛がお好き/ai ga osuki
by cyan
I love that instrumental break at the 03:06 mark, holy

Veering not too far away from the alternative rock spectrum, we have Tokyo-based band cyan with Ai ga osuki, taken from their second EP sing to the sink, which was released at the beginning of July. At first glance, cyan share a lot of the same visual sensibilities as the previously featured Paterson. In fact, they also fall into that growing group of bands I’ve been spotlighting both here on the Roundup and over on my Japanese-style alternative playlist that have embraced a distinctly retro-inspired aesthetic. Musically though, the similarities begin and end there. Where Paterson opt for a brighter and more wistful interpretation of shoegaze, cyan instead lean into something considerably grittier. There’s a darkness to Ai ga osuki that permeates the entire track, giving it a mood that’s equal parts nostalgic and unsettling. Interestingly enough, the band themselves describe their sound as “bedroom grunge.” I can’t say that’s a descriptor I’d come across before discovering cyan, but after hearing this song, I’m honestly struggling to think of anything more appropriate. Ai ga osuki blends together the familiar hallmarks of ’90s alternative rock with hazier, more psychedelic textures that gradually envelop the arrangement in a shadowy dream pop atmosphere. Despite how dense everything becomes, the song never feels oppressive. A lot of that comes down to vocalist Tanakami Sui, whose transparent singing cuts cleanly through the haze, acting almost like a guiding light as the instrumentation swirls around her. It’s a fascinating combination, and one that gives cyan a sound that feels comfortably familiar while still carving out an identity all their own. If Ai ga osuki is your first introduction to the band, I have a feeling it won’t be your last.

赫らむ箱庭/akaramu hakoniwa
by デリバリー神様 (delivery kami-sama)
Such a relatable sound

Full disclosure; over the past year or so, as I’ve become a little more visible within the Japanese music community (primarily over on X), I’ve occasionally had bands and artists reach out asking if I’d be interested in listening to some of their upcoming work. Mind you, it’s only happened a handful of times, but something I do want to make clear is that not a single one of them has ever explicitly asked me to feature their music here on the blog. More often than not, they simply wanted to share what they’d been working on, and whenever I’ve decided to write about them, it’s been entirely of my own accord as a way of returning that kindness. Delivery Kami-sama happened to be one of those bands. I’d actually already been listening to their music for quite some time, so when vocalist Kazu reached out to me, I was genuinely excited at the opportunity to hear what the band had been working on next. He very generously put together a complete press kit, which included not only background information about the song but also an advance recording well before it arrived on streaming services. The result is Akaramu Hakoniwa, a song that beautifully blends alternative rock, shoegaze, and dream pop into a nostalgic summer soundscape. Emotional melodies intertwine with soaring guitars while the arrangement quietly explores themes of fleeting memories and longing. What made the experience even more meaningful though was getting to hear directly from Kazu about how the song came to be. Interestingly, despite writing what is unmistakably a summer song, he admitted that he’s actually not particularly fond of the season itself. Even so, there are memories tied to summer that have remained with him throughout the years. In his words, he believes everyone carries moments like that. The restlessness and loneliness that accompany the season may seem insignificant to others, but to him they feel deeply personal. The “Hakoniwa,” or miniature garden, referenced in the title represents those private emotions that are difficult to express; the feeling of being quietly left behind as another bright and beautiful summer passes by. It was honestly a humbling experience getting to hear the story behind the song from Kazu himself, and I’m incredibly grateful that he entrusted me with it ahead of its release. I’m equally honored to now be able to share it with all of you.

2more
by flip-flops
This is, without a doubt, far-east emo

The second of this month’s advance-listen features comes to us courtesy of another artist who has reached out to me in the past; Sakai of the Hokkaido and Tokyo-based two-piece, flip-flops. Sakai first got in touch with me earlier this year after coming across some of my posts on X, particularly the ones where I share my Japanese-style alternative playlist. He mentioned that he’d been enjoying the selections on there and simply asked if I’d be willing to check out the band’s latest single at the time. I happily obliged, and before long I found myself becoming a fan of the music they describe as “Far-east Emo.” It’s a fascinating term. Just hearing the name alone, you’d probably imagine something akin to an East Asian take on Midwest Emo. In reality though, Sakai explained that the idea is much broader than a single genre. While the band’s earlier music drew heavily from alternative rock styles such as Midwest Emo, Math Rock, and melodic punk, he eventually began feeling that there was no reason to confine their music within those boundaries. Beginning this year, flip-flops have started incorporating elements from electronic music, house, and hip-hop, citing artists such as Fred again.., Mura Masa, Matt Champion, and Yaeji among their inspirations. Even with those stylistic shifts, one thing has remained constant. Rather than defining themselves by genre, the band instead place their focus on conveying feelings of ephemerality, sadness, and emptiness with as much honesty as possible. In Sakai’s view, maintaining that emotional consistency allows the music to retain its identity regardless of how dramatically the instrumentation changes around it. I think 2more encapsulates that philosophy beautifully. Serving as the third installment in the band’s three-month consecutive release series, the song continues building upon the “electro × Midwest Emo” foundation established by the singles that came before it while pushing even further beyond the traditional confines of rock music. It opens with an immediately memorable synthesizer hook before gradually weaving together shimmering electronics, intricate arpeggiated guitars, and shifting time signatures that recall the unpredictability of math rock.

Safe Place
by Sezko
Gonna be a name to remember, I have a feeling

Last, but certainly not least, closing out this month’s Roundup is who I believe to be one of the most interesting acts currently emerging from the indie scene; Sezko. I say “interesting” because, at least from everything I’ve heard so far, there really isn’t another band I can readily point to that’s doing quite what they’re doing. Now, you might be thinking, “Isn’t this just another example of the retro-theming you’ve been talking about all year?” And broadly speaking, yes. Safe Place absolutely falls under that umbrella, carrying with it the same nostalgic feeling that so many of the songs I’ve been championing over the past year have shared. The important distinction though is which era that nostalgia is drawing from. The overwhelming majority of bands I’ve featured under that retro-themed banner have looked primarily toward the ’90s for inspiration, whether through alternative rock, dream pop, or shoegaze. Sezko, on the other hand, sound like they’ve planted themselves firmly in the early 2000s. I’m talking the likes of Avril Lavigne, blink-182, Fall Out Boy; the list goes on. That particular era of guitar-driven rock has a very specific energy to it, and Safe Place captures it remarkably well without ever feeling like a mere imitation. Instead, Sezko take those familiar influences and reinterpret them through a contemporary indie lens, creating something that feels both nostalgic and refreshingly current at the same time. If, like me, you happened to grow up listening to those artists, then I have a feeling this song is going to resonate with you almost immediately. It’s a style that I don’t hear nearly enough within the current Japanese alternative rock scene, which is exactly why Sezko have become such an intriguing band to listen to and to follow. Needless to say, I’ll be keeping a very close eye on what they do next.

MUST LISTEN:
“blades” by RAINBOW BELTZ
“Akaramu Hakoniwa” by Delivery Kami-sama
I’ve been singing this band’s praises ever since I first came across them through my Japanese-style alternative playlist, and with every new release they continue to justify that excitement. Between Miyu’s beautiful, airy vocals, the dense emo-inspired guitar work, and their willingness to continue writing primarily in English, RAINBOW BELTZ have steadily carved out an identity that feels entirely their own within the current alternative rock scene. If this is the trajectory they’re on, I genuinely believe it’s only a matter of time before more people begin catching on. The other spotlight naturally has to go to Delivery Kami-sama. Beyond simply being honored that Kazu trusted me with an early listen, Akaramu Hakoniwa is just a genuinely wonderful song. After hearing the thought that went into its creation, from the memories that inspired the lyrics to the environmental sounds carefully woven throughout the arrangement, I found myself appreciating it even more. It captures that bittersweet feeling of looking back on a summer that’s already beginning to slip away, all while wrapping those emotions in a gorgeous blend of alternative rock, shoegaze, and dream pop.

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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!

Before I send you guys off, don’t forget that the Roundup Extended Playlist for July 2026 is now live! If you’re still itching for more Japanese music after making your way through this month’s features, be sure to give it a listen. As always, these Extended Playlists (or EPs) are where I highlight additional songs I really enjoyed throughout the month that, for one reason or another, just narrowly missed out on making the main Roundup. There are plenty more gems waiting for you over there, so I hope you find a few new favorites!

Now then, what did you guys think of this month’s Roundup? Let me know down in the comments! Likewise, if there were any songs you’ve been loving throughout July that you think deserve a shout, I’d love to hear them as well. One of my favorite parts of putting these together has always been seeing what everyone else has discovered over the past month.

Also making a return this past month was the J-Music Advance Party over on my Substack! We had another fantastic lineup of upcoming releases to look forward to, and I’m happy to report that they absolutely lived up to the anticipation. My personal favorite was AVYSS’ double compilation album release INNER SYNC and HOLLOW HYPE, both of which have been in my heavy rotation pretty much since they dropped. If you’re unfamiliar with the series, the Advance Party is my monthly newsletter where I spotlight upcoming Japanese album releases I’m personally most excited about before they come out. Think of it as a “pre”-launch party of sorts. It’s completely free to subscribe, and you’ll also gain access to every previous issue should you ever feel like going back through some older recommendations. The next Party, which was originally scheduled for August 2, 2026, has been tentatively moved to August 8, 2026. Apologies for the delay to those awaiting the next issue, but all the same, would love to have you all there!

The J-Music Exchange/Rate also returned this month with another pair of tandem album reviews alongside my good friend Al over at the Omunibasu Substack. This time around, we went over albums that make us want to play/learn an instrument, playing on the feeling that any music listener has had at some point, where you hear a particular melody or performance and think, “Man, it’d be really cool to be able to play something like that.”. With that in mind I had Al check out yubiori2 by yubiori (check it out on the Omunibasu Substack if you haven’t yet already), while I spent some time writing about Super Climbing Club’s self-titled debut album. You can catch that one here!

And with that, I think that about wraps things up for another month.

Thank you all so, so much for stopping by whenever you do. Whether you’ve been reading these Roundups since the very beginning or only just recently found your way here, it genuinely means a lot that you’d choose to spend a little bit of your time discovering 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.

Happy Listening!