This Side of Japan's Top 100 Songs of 2023
Highlighting the year's best Japanese songs from Ano, PeanutsKun, Conton Candy and many more
Hi! Welcome to the Best of 2023 edition of This Side of Japan, a newsletter about Japanese music, new and old. You can check out previous issues of the newsletter here.
It’s hard to say if music in Japan in 2023 saw the beginning of something new or the promises of the last decade finally coming to fruition. Imagine telling fans of J-pop of 10 years ago, with the industry being so walled-off from international listeners at the time, that the global reach of J-pop is becoming more and more evident, in other Asian countries but also the other side of the Pacific. The way pop sounds seem to be shifting thanks to songwriters, singers and producers hailing from niche scenes that developed at the top of the 2010s: take YOASOBI, Ado but also Ano, whose “Chu, Tayousei” represents a culmination of developments in indie rock, internet pop and idol music from the past decade.
What’s certain is that Japan’s music scenes on all fronts are not only flourishing but self-sustained. The country’s rap music this year exemplified this in that rather than trying to merely join in on what’s happening overseas, they further maintained a whole ecosystem of their own with visible stars and official anthems. You can observe the inviting yet tight-knit atmosphere in other areas like the dance scenes, indie-rock and hardcore circles, and even pop, idols included. You can keep yourself satisfied with all that’s happening inside the country, and you can probably keep busy while following only a single scene.
All that said, my number one comes from a personal place. The act responsible holds a solid reputation in their respective netlabel-rooted scene, and their album is a nice peek into some of the people they surround themselves with. Yet more than any buzzing corner of Japan, the song in question better represents how my year went on in 2023—just toughing it out and remembering all the good that happened to get through it. I hope this list can be a good survey of Japanese music in 2023 for you, but the choices here are all in its place first and foremost because it had a place in my own year.
Thank you for reading This Side of Japan in 2023! Here are the newsletter’s top 100 Japanese songs of the year. You can check out most of the songs here on this Spotify playlist, and you can also browse the simple text list here. (Idol songs got a separate list, which you can check out here.)
1) “Day After Day” by Pasocom Music Club ft. Mei Takahashi
Discussing this year’s Fine Line, Pasocom Music Club posited “Day After Day” as a kind of antithesis, where it outlines the ennui the electro-pop duo spend the rest of their album trying to mend. The sleepiness behind the track’s synth-pop indeed runs counter to the restless verve spilling out of the wide-ranging dance beats, and its position as the record’s last song frames the listening experience as though the duo is finally booting down after a long, hard night.
But personally, contrary to Pasocom Music Club’s own commentary, “Day After Day” is where the album truly begins. The song arrives at its point in the album as a sobering reality check that it’s time to face yet another of the mundane days you spent so much energy the night before escaping from their shadows. LAUSBUB’s Mei Takahashi’s sighing vocals may be breezy yet it’s not completely free from burnout, with her struggling to find the sparkle that sets today unique from the dullness that came before. But when it seems too pointless for her to keep going, the sweet reminiscences from the nights before pop up spontaneously to her mind in one of the year’s most uplifting choruses.
I’ve been lucky this year to get myself out of the humdrum of work life and make more than a few unforgettable memories. But I don’t think I appreciated those moments as it happened then as much as I cherished them months after when I found my days to be nowhere as rewarding as I’d liked. “But your voice that remains in my head / gradually sinks into my body,” Takahashi sings in the chorus. “And I search again / quietly changing my empty tomorrow.” As grating as my day to day can be, “Day After Day” helps me look at the stasis of the present as an opportunity to savor those experiences and admire how valuable they really were.
2) “Idol” by YOASOBI
You can call idol, in particular the human exchanges and the parasocial relationships built around them, a lot of things. Using the words of Ai Hoshina from the manga-turned-anime Oshi no Ko, Ayase and Ikuta Lilas call it a lie. A performance would have neutralized, artifice would have made the critique more academic, and maybe fake would have softened the blow. A lie digs deep if only because it implies that I, the fan, am partly complicit in believing what I’m convinced to be true, whether or not I am aware of being sold to. And do YOASOBI say the quiet parts fucking loud, starting from the most bombastic production they’ve made, filled with a monstrous blast of brass, a blinding flash of synths, a trap-pop breakdown, and a gothic choir singing “you’re my savior, you’re my saving grace.”
But as “IDOL” places the onus also on the idol herself for knowingly selling a lie to her beloved fans, how could anyone resist buying into the spectacle? Ikuta embodies the superhuman ability of Ai Hoshina via her vocal performance: not only does she seamlessly maneuver through the trickiest melodies and a demanding production, she inspires in us the feeling that we can recreate the magic, too, as evident from the countless TikTok dance snippets and YouTube vocal covers uploaded this year.
All that said, the biggest lie is the one being told to the idol herself. She fakes it until she makes it, fabricating her value before her reputation catches up to the level of work put in, but she also convinces herself this is how to love until her little fib starts to feel true. In a macabre, perfectly meta way, it’s the idol’s own dying words that give the song it’s most validating, emotionally moving moment where she finally speaks her love into actual being: “I, I said it at last/I know it’s not a lie as I’m voicing these words/I love you.” I, for one, know all this is a lie, though it doesn’t make the feelings any less true.
3) “My Life” by Mall Boyz
If the first Mall Tape projected Tohji and gummyboy with some delusion of grandeur in 2018, the larger-than-life aspirations shouted by the Mall Boyz on that tape have practically turned out to be prophecy fulfilled in time: “I’m gonna live by myself on top of the sky,” Tohji boasted with hunger back then, and from where he stands in the scene now, he might as well be peeking down at the rest of Japan’s rap through the clouds. But as he gets the band together with his partner-for-life in “My Life,” the rapper sets aside his own desires to instead share the lavish experience of having it all for others who don’t have the luxury. The switch from swag-rap bombast to immaculately glossy trance-rap telegraphs the change in mentality into an all-for-one sincerity, and the duo’s flexes are now efforts not to distance themselves from the average but rather to draw themselves as a “you can do it too” model of success: “My life used to be sitting in the corner / now my life is singing with everyone at shows,” gummyboy starts his verses full of awe from his new lifestyle. Because as “My Life” likes to remind, if the Mall Boyz win, it’s the victory for all of us to delight in.
4) “My Own Story” by Minori Suzuki
For a song accompanied by such a boundless, soaring string arrangement, “My Own Story” shines a light on a narrator so weighed down to the point of near immobility. “A whirlwind rises, and I held my breath / I want to go / but I still can’t,” Suzuki Minori opens the song, frustrated from her own reservation to dive into the unknown and move forward like the rest of the world. And it’s her struggle to envision what can possibly lie on the next chapter of her story, so to speak, that cuts the deepest. While the chorus blooms with optimism as the voice actress marches along despite her self-doubt, I also can’t help but think of its lyrics as a sweet little lie she tells herself so her endeavors aren’t entirely hopeless and meaningless: “Ahead of the pages that I’ll keep turning / will be a day I’ll understand all of this wasn’t a waste.” Whether or not those lyrics contain the truth, I can only hope that having faith in the outcome can take her far and away from her misery.
5) “Chu, Tayousei” by Ano
No matter how ill-mannered Ano got on TV, variety shows kept inviting her back this year as to encourage her behavior but also to let the former idol squirm: no one looked more uncomfortable hanging out with other entertainers in the studio than Ano. Despite her visible discomfort, she secretly welcomed the attention—she signed up for a hell of a lot of CM appearances at the very least—and it’s this vulgar, tsundere appeal that’s at the heart of “Chu, Tayousei,” the song that propelled her to mainstream stardom.
“Chu, Tayousei” is an earworm by design from its rhyme-first wordplay to loop-de-loop melody, the zippy chorus collapsing lyrics into mere onomatopoeia; its viral TikTok choreography further obscures meaning in favor of the pure stickiness of its lyrical components. All this prime engineering to steer a hook driven by rather disgusting imagery, but it’s precisely this juvenile detail that’s the fuel behind the generated craze: the song would be as half as fun to interact with had Ano not sung “gero-chuu,” or vomit-kiss, in the chorus. Ano drew a mass crowd through spewing venom, all starting from “Chu, Tayousei.”
6) “Dramatic Ja Nakuttemo” by Kana Hanazawa
Despite being blessed in the moment spent with her significant other, Kana Hanazawa can’t help but dwell on the fact that it can all vanish at any given time in “Dramatic Ja Nakuttemo.” Though her anxiety isn’t unfounded, you wish she turns her attention instead to the finer things happening right in the present, especially as the flowery orchestral arrangement presents the idyllic scene laid out in front of her. But her mourning of lost time ultimately leads her to gain clarity of what matters most: “Even if it wasn’t dramatic, even if I moan that it’s all boring / I’ll remember this day,” she sings with newfound appreciation for even the mundane.
7) “GALFY4” by KAMIYA ft. cyber milk chan, nyamura, HAKU, MANON
For its fourth rap collaboration series promoting their latest clothing line, apparel brand GALFY assembled a star-studded crew representing Japan’s underground pop. And through his sectioned-off beat, producer Masayoshi Iimori acts as a tour guide showing around the respective pockets of the internet-bred scenes that each name here occupies. We hop from nyamura’s 3 a.m. computer-pop to cyber milk chan’s dreamy trance-pop, HAKU’s sweet-toothed Soundcloud raps to MANON’s buzzing EDM breakdowns. Just a few years ago, we might have used the catch-all term of hyperpop to house these disparate names under one roof as this track does. But for how expertly curated, each section here sounds ready to splinter off, and flourish independently in its own distinct way.
8)“Cho Fast” by GOSHI ft. Yurufuwa Gang & Ralph
NENE cheeses in front of an iPhone screen, chatting with Diplo via FaceTime, as the souped-up car she’s riding shotgun in is doing donuts at top speed. Unfazed from this wild situation like this is just a regular part of her daily routine, this is how she also raps in “Cho Fast”: with an unhurried flow, she goes on about her greatness with a yawn as if it’s known by everyone as a common fact. Even when GOSHI revvs up the pinging electro beat, she tiptoes across the rolling drums while laying down the track’s standout refrain: I know how to drive, but they took away my license. Yes, Ralph dominates, too, like the final boss of this track, especially as he switches up into double-time as the beat ratchets up the speed. But after NENE effortlessly skates across this track about the fast life, everything else starts to feel like an accessory.
9) “Gold -Mata Au Hi Made-” by Hikaru Utada
Cast with a somber air of mourning, the stripped-back ballad of “Gold -Mata Au Hi Made-” resides close in spirit with Utada’s elegiac songs for the Evangelion films. But if the stark pianos remind of the deep grieving behind “Sakura Nagashi,” the singer herself exhibits a stubborn optimism developed in part from “One Last Kiss.” As she recollects the relationship, she resists the possibility of finality, and when the dreadful thought of the permanent end threatens to creep in, she fights back her depression with a childishly innocent strategy that’s so wholly Utada: “I’m gonna fill my calendar with lots of plans / my tears are on hold, ‘til the day we meet again,” she cries out in the chorus a tactic not unlike the “Netflix and UberEats” method of “BAD Mode.” Utada may still be vulnerable yet she’s more than equipped to wade through the waters.
10) “MAKE IT BOUNCE” by Tokyo Young Vision ft. Hideyoshi, Big Mike, Asiff, DALU & OSAMI
Club rap exploded as a hot new sound this year in Japan. While the beginning of 2023 saw a few rappers dabbling in the thumping beats that took from corners like Jersey club, the summer observed a spike in rappers adopting it to freshen up their style, the stuttering drums trickling in singles by mainstream stars like Awich and JP THE WAVY. Tokyo Young Vision’s posse cut represents the tipping point with its tough beat that’s situated in equal distance from drill and club: while the shifty drums and wobbled bass line of the former are laid out in the verses, the sputtering percussion of the latter is unleashed in the chorus: “Gather around, dummies,” Hideyoshi rallies the crowd over the riotous beat, “Wild out as much as you can / Live out now, do my best.”
11) “Kikoete” by Limre
While KBSNK’s band preferred sleek, math-y guitar riffs in their recent full-length, harsh noise bleeds into the music of “Kikoete” as they play their pop punk with such immense force. The blurring intensity of it all, though, only communicates the urgency behind the song and its overall message: “As long as it’s heard / to just one person.”
12) “barla” by bala
The agenda behind bala in “barla” is simply to escape the mundane, their resistance to boredom laid out so candidly as soon as the track launches into its groovy loop—their motive doesn’t get more blunt than “I no longer care for pathetic people.” And as the four ride the sticky disco-house beat, with MANON and SUNNY ONLY 1 also indulging in some slick rapping, their pursuit for the next new thrills inspires the very exhilaration they are seeking on record.
13) “Speedy Freeky” by DJ KANJI ft. CYBER RUI & Elle Teresa
The subdued glimmer from DJ KANJI’s icy, minimal bass beat sets the scene of a rather low-key showcase spotlighting two of the year’s best rappers. Despite the collaborative track sporting a more muted sound than their usual—or perhaps because of?—CYBER RUI and Elle Teresa strike bluntly in their measured raps as they hold nothing back in their sneering raps nor XXX flexes.
14) “ENN” by NEI
NEI reflects in awe from how life has been unfolding for him lately. But while words seem to endlessly pour out from him, his mumbled flow remains unhurried like he’s stoked yet not entirely shocked. The muted softness in the club-inspired beat adds on to the casual feel of it all, the song’s modest cool downplaying his wins into rather everyday triumphs.
15) “Wonderland To Entairyokin” by TIDAL CLUB
TIDAL CLUB strum a downcast emo riff as exhausted as the lyrical asides shrugged off by frontman Yuki Kameoka. He tries to fill this nagging inexplicable lack, only to always come up short; alcohol only leaves him an awkward taste in his mouth. “Well, it doesn’t really matter,” he signs off every verse with a sigh, defeated from the pointlessness.
16) “rose” by KID FRESINO
While UK drill guides “rose” from the sputtering percussion of its production to the choppy cadence in the raps, KID FRESINO flips the inspiration through his own casual-yet-technical style. He’s quick-footed as he is nimble with his lyrical acrobatics, the street language zooming past before you know it.
17) “Rejuvenation” by Queen Bee ft. Hikari Mitsushima
Originally singing with herself as a more hypothetical duet, included in this year’s album 12D, Queen Bee’s Avuchan invites Hikari Mitsushima as the other voice in the conversation playing out in this delicate, bittersweet synth-pop ballad. Performing as former lovers reunited by chance, they tenderly reminisce about their past while begrudgingly resigning to once again go separate ways. They deal with their situation with grace yet neither walk away fully at peace.
18) “Intelligent Bad Bwoy” by BIM ft. C.O.S.A. & Daigos
This dusky dispatch with the rapper’s longtime peer C.O.S.A. echoes garage during its pirate-radio era. For how quietly the UK-inspired beat shuffles along, BIM restlessly lays down a series of rapid-fire bars. Though, his vocals hardly ever break its hushed cool, like he’s undercover as the titular bwoy, operating in secret cyphers.
19) “Ct” by Ginka Hajima (CV: Azuka Shibuya)
uku kasai’s fingerprints are all over her contribution for Denonbu from the delicate, subtly uneasy glitch-pop arrangement to Azuki Shibuya whispering lyrics as if to not wake up the neighbors. With its main ripple of noise in the form of a breezy rush of drum ‘n’ bass, the intricate song presents a bedroom-pop quietude rarely found in releases from the Bandai Namco franchise.
20) “Resonance” by (sic)boy ft. Only U
(sic)boy steps outside of brooding nu-metal for a busy cyborg-punk beat peppered with skittering drums and wobbling bass sourced from drill. Being removed from a familiar environment moves him to find connection even more with like souls, calling out to lonely broken hearts in the melodic, glitched-out chorus.
21) “Shikou” by Saori Hayami
Frantic pianos and searing guitars electrify “Shikou,” and the heated arrangement send the song skyward, hardly offering the voice actress a moment of rest.
22) “no rhyme nor reason” by TOGENASHI TOGEARI
The jagged riffs are agile and razor-sharp as they are persistent, zigzagging as restlessly as TOGENASHI TOGEARI’s inner monologues, which draw upon the 2D band’s fictional biography filled with misery and relationship trauma.
23) “Psycho” by Hakos Baelz
Hakos Baelz throws a glorious celebration for the losers, fireworks abound in the megaton-bomb beat drops but also her devouring chorus.
24) “You Are Loved” by Big Animal Theory
Big Animal Theory’s Bandcamp page offers a rather brief, cryptic bio—“Always Anonymous”—for the producer unit. From its warped, wonky bass to helium-shot vocals, the off-kilter garage of “You Are Loved” is also seemingly self-satisfied by its own willful obscurity. But if the sound reminds of post-dubstep pranksters Two Shell, Big Animal Theory is less driven here by irony and rather inspired by a sincere giddiness granted when you’re moving incognito, free from consequence as they mess with the levels.
25) “MONOLOGUE” by CYBER RUI
Lacing it with gruff yet hooky ad libs, CYBER RUI airs out frustrations over a silently menacing trap beat.
26) “Tantan” by Kudaranai 1nichi
Shot with the numbness from growing older, the emo greats sing their own not-so-happy birthday song.
27) “Eien No Blue” by Hitsujibungaku
Once stuck sulking in their own deep fatalism, the indie-rock band now write their most loving, selfless chorus: “Even if it doesn’t get to you, let me keep on shouting it,” they call out, “I believe in you because I love you / even now.”
28) “Towelket Wa Odayakana” by Ayano Kaneko
The howling folkie’s jangling title track to her great album from this year sounds warm and enveloping as arms outstretched, especially its chorus: “It’s all OK / not knowing a thing.”
29) “Suteki Na Yokan” by CENT
Though BiSH had not officially bowed out just yet when CENT dropped “Suteki No Yokan,” her solo single already imagined for her a world outside of the gloom haunting the idol group. Whipped up by a crew of musicians from bands such as POLYSICS and the dadadady, the sunny pop-rock bounces off from the optimism behind the feelgood lyrics perfect to send her out into her next new path: “My heart is getting louder / I feel like I can do anything.”
30) “pure boi” by Masayoshi Iimori & 4s4ki
4s4ki furnishes a safe space for lost souls in Masayoshi Iimori’s outlandish beat laid out by Game Boy synths and screeching brostep drops.
31) “Chikakute, Tokute” by Yuka Nagase
A brilliant electro-pop rendering of love at first sight: “Time stops, your eyes / almost suck me in,” Yuka Nagase dreamily sighs in the chorus, and a gust of glitchy synths rushes out like a restless heartbeat.
32) “Nanakai Kara Megusuri” by Blooming Bungei
If it wasn’t for the hyperbolic title—translated by the indie-rock band as “the eye drops from the 7th floor makes my eyes burn”—the breeziness of those guitars might make you gloss over the song’s sob fest inspired by a fresh break-up. That said, it’s that very melodrama born from a still-raw wound that gives the song its humor: I’m certain this is the only indie-rock song this year that wishes to be reborn as a seagull so she can crash into her former lover’s room out of spite.
33) “Call Me By Your Name” by White Label Lover
While this low-key techno sets in an after-hours atmosphere that reminds me of some of the jazzy long-players I love from Detroit, its wiggling acid bass line still got some dancing left in it.
34) “Play” by Le Makeup ft. Tohji & gummyboy
Le Makeup embraces 2-step and invites some rap friends to shake up his fuzzy dream-pop into a celebratory affair.
35) “Hana” by Fujii Kaze
Fujii Kaze’s carefree personality shines through in this swinging, piano-led R&B dedicated to lost souls searching for a place where they belong.
36) “OH SAWAGI” by BBBBBBB
BBBBBBB make good on that riotous title in “OH SAWAGI,” bashing up a post-punk mosh that’s caked with the bleeding feedback of noise that they exert so much energy making. More entrancing than the sheer sonic assault, though, is that clipping stutter of a hook. It initially mimics a whiplash-inducing head-bang in motion or a beat drop skipping mid-drop; it soon transforms to something closer to a round of gun shots to the chest. You hear a whimper about two-thirds in, like it got clocked clean on the stomach, and that’s kind of how feels to be thrown into the throes of BBBBBBB’s noisy hardcore.
37) “Lapse” by Homecomings
Breezy indie-rock strums tease a heated, intimate connection that’s yet to be made official between two teen lovers.
38) “DOSHABURI (Remix)” by kZm ft. JUMADIBA & Ralph
“DOSHABURI” channels the spirit of UK drill and grime from Chaki Zulu’s sputtering beat to kZm’s bloody threats.
39) “Toubou Seikatsu” by Fennel
“I can’t step forward even just a little bit,” she starts, and the lethargic pop-punk riff chugs along as if to shake off the depressive weight.
40) “magella magellan” by gaburyu ft. Seren Azuma
While the blown-out bass gives it some punk edge, gaburyu’s electro-pop contribution remains soft to the touch like the rest of the MOTTO MUSIC compilation.
41) “Private Room” by Azusa Tadokoro
The voice actress speaks low in her own vocabulary as she builds her own private world, crafting dazzling synth-pop that captivates with its secrets.
42) “As0bu☆tAmE” by shiedA
Like the bedroom drum ‘n’ bass track rushing with speed behind her, shiedA is itching to chase for more weekend thills as she has no time to waste.
43) “Akatoki Reload” by aiko
The homely pop production furnishes a cozy, intimate space for aiko as she imagines a private world for two.
44) “Lyrical Down” by IM DENPA.wav
Struck with awe, IM DENPA.wav sings what’s on our minds while taking a gander at the dreamy soundscapes of their hazy electro-pop world.
45) “Gordon Kill the Thomas” by PeanutsKun
The year’s most ridiculous murder fantasy deserves an equally delirious steam-roller of a beat to deliver it: the bulldozing electro beat pummels everything in its sight as the driver of this crazy train screams, bitch I’m Gordon—you know, from Thomas the Tank Engine. But while PeanutsKun’s rage against the world initially seems to manifest into a cartoonish form, those gonzo Lil B-esque raps soon unwraps a more personal grievance. We might not be tied to any major-label contracts that needs to get stomped yet PeanutsKun still digs up a familiar anger that drives us to villify our own Thomases.
46) “PUKE” by rirugiliyangugili
While other swagged-out rappers might rough up their neon beats with the detritus of the its 8-bit synths, rirugiliyangugili hardly cares about stylishness when it comes to his shout-rap. The ringleader of the rising CNG Squad instead channels something more gutter and sinister, like the demonic fight-raps from Memphis or its corrosive, bloodthirsty offshoots sprung out from Florida. And a song like “PUKE” proudly revels in its own mercurial temprament, with its central voice suggesting acts of chaos that’s totally random and unpredictable.
47) “Circle” by Rei Yasuda
The carefree, jettin’ funk hits all the hallmarks of Yaffle, the in-demand songwriter behind tracks by Fujii Kaze, iri, among others.
48) “aquascape” by Barrier Reef
Take a break with this breezy instrumental math-rock brought to you by this band from Sendai, a hotbed for some of Japan’s best emo.
49) “Shugei-Hi!!!” by KAF x Kenmochi Hidefumi
Kenmochi Hidefumi hands his best track of the year to utaite KAF, filled with playful rap verses and scatterbrained electro-pop that we’ve come to love from the Wedneday Campanella producer.
50) “Fuzzy Navel” by Conton Candy
Indie-rock trio strums TikTok-minted power-pop that sounds as sweet and exuberant as the infatuation at the heart of the track.
51) Awich, NENE, LANA, MaRI, AI, YURIYAN RETRIEVER - “Bad Bitch Bigaku (Remix)”
52) Perfume - “Love Cloud”
53) JJJ - “Eye Splice”
54) AIMI - “MAGICAL DESTROYERS”
55) Neon Nonthana - “Ai Lie”
56) kojikoji - “Hoho Ni Hitokuchi”
57) Blow Your Brains Out - “No Control”
58) Saba Sister - “Time Sale Nogashitekure”
59) Ado - “Ibara”
60) eill - “WE ARE”
61) Aburinatown - “Rokudenashi No Uta”
62) Wednesday Campanella - “Akazukin”
63) Kayoko Yoshizawa - “Koorigashi”
64) Raon - “Like Like”
65) MEZZ ft. Nakamura Minami - “ROYAL MILK TEA”
66) CHANMINA - “I’m Not OK”
67) Ralph ft. JUMADIBA & Watson - “Get Back”
68) Fellsius - “Remember”
69) Ling tosite sigure - “alexithymiaspare”
70) Only U & Hezron - “What U Say!”
71) Kalen Anzai - “Heaven”
72) Fetus - “Puddle”
73) Nagakumo - “Ball”
74) Yuragi - “Worthy of…”
75) Tujiko Noriko - “A Meeting at the Space Station”
76) Neo Iceyyy ft. rirugiliyangugili & EDWARD(me) - “Never”
77) Shuta Hasunuma - “Emergence”
78) Elle Teresa - “Come On”
79) PAS TASTA ft. PeanutsKun - “peanut phenomenon”
80) 7th Jet Balloon - “MGDYRKRNI”
81) ktskm - “Undertow”
82) JYOCHO - “As the Gods Say”
83) Sasuke Haraguchi - “Mu-topia”
84) QUBIT - “Mr. Sonic”
85) Kaneyorimasaru - “26”
86) BAILEFUNK KAKEKO - “toquio1998”
87) KRUELTY - “Burn the System”
88) Ohzora Kimishima - “c r a z y”
89) Sloppy Disk ft. Lil Leise But Gold - “Hold Me Tight”
90) Vaundy ft. Cory Wong - “Todome No Ichigeki”
91) KIRINJI ft. SE SO NEON - “honomekashi”
92) Emma Aibara - “i don’t know who i am”
93) ONJUICY, Nakamura Minami, uyumi, SKOLOR, Masayoshi Iimori - “Cho-chocolate drip v2”
94) Ryuichi Sakamoto - “20220214”
95) FULL URCHIN - “sundown”
96) CYBERHACKERSYSTEM - “C0ntr0l”
97) Oyubi - “¡!¡!bbbbBaadboi¡!¡!”
98) moreru - “Yuugure Ni Tsutaete”
99) lilbesh ramko - “i(dont)know”
100) Honeyworks ft. Chu-tan (CV: Saori Hayami) - “Kawaikute Gomen”
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Great roundup as always!