Idol Watch's Top 100 Idol Songs of 2024
Looking back at a year in idol featuring songs from FRUITS ZIPPER, f5ve, Phantom Siita and many more
Hi! Welcome to the Best of 2024 edition of Idol Watch, a companion newsletter to This Side of Japan that’s all about idols! You can check out previous issues of Idol Watch here.
NHK’s Kouhaku Utagassen riles up idol fans just about every year to start discussions about which of their favorite groups aren’t booked for the year-end show, but this upcoming broadcast had a rather notable omission that tells the landscape of today’s mainstream idol scene. FRUITS ZIPPER and Cho Tokimeki Sendenbu performed their TikTok hits — “Watashi No Ichiban Kawaii Tokoro” and “Saijokyuu Ni Kawaiino!,” respectively — on seemingly every music program throughout 2024, and yet both were absent from the official line-up that featured Sakamichi groups as well as K-pop acts like LE SSERAFIM and ILLIT. While promoted as a breakout viral sensation as they made their TV appearances, the two have yet to be considered the popular sound fit for the national stage such as Kouhaku.
Though they might not have been deemed the popular sound, FRUITS ZIPPER and Cho Tokimeki Sendenbu still represented a defined sound and aesthetic that seemed inescapable on a certain algorithmic feed. The success of their bubbly personality delivered via one shiny piece of music trickled down in influence to their peers of their agencies, Kawaii Lab and Stardust Planet, respectively: Iginari Tohokusan and ukka from the latter retooled their concept according to those songs aiming for similar results. Other idols of a similar frequency would supply the demand with their own take on this azato-kawaii pop full of winking-cute gestures. The focus on the cute may be more orthodox to an idol tradition, and yet with a sound but also looks that point more to a fantastical sparkle, this new wave moved the idol-pop needle from the everyday personality toward a new, different kind of popular.
Trying to pin down the popular sound in the mainstream, and if that sound was indeed popular as it seems on the internet, took more of my interest in idol this year. In part because the underground had the same response as it always has when asked to define idol: whatever the hell we want. If it it resembles less of a Wild West of than it was before the pandemic, it might be because more and more acts are taking it seriously, honing a solid concept and strategy, especially as new groups become formed by former members of groups who helped build the excitement of the underground.
That said, my number-one pick excited me because the group truly seemed to do whatever they wanted as they chased their own kind of fucked-up thrill. For one, I still tend to question if they’re really idols with their music sounding like them indulging in vices that would earn a mainstream idol more than a few strikes. But they say they are, so they’re here, bringing glorious slop after slop.
Here are the top 100 idol songs of 2024. Boy groups got their own separate list, and you can check it out here. You can browse this as a simple text list here. You can also check this list out on a Spotify playlist here.
1) “PinPonDash” by pinponpanpon
Year after year, this number-one spot is reserved for slightly overwrought prose from me about finding humanity deep inside the glossy sheen of idol pop. This three-part musical-esque pop or this jubilant ska-flavored number reminds the work is never over, but it’s the work that makes it all worth it! This punk-rock anthem literally called “human” helps find faith in people among our glum, post-COVID reality! I suppose it can also be found from the music of pinponpanpon, if only “humanity” can mean a mutual appreciation for the stupidest pleasures.
In the lizard-brained singles put out by the trio so far since last December, deep-fried electroclash synths cook your brain like microwaves, and stomping drums hammer it into mush, all of it wildly shaken up by the jostling hard-trance momentum: the spiked chaos is what I imagine how it must feel to shotgun a tall can of Strong Zero. The idols have rapped about being the sheriff at the rodeo or dropping bath bombs, every silly conceit tackled with as much frenzy as the fucked-up beats they shout over. “I won’t show my private area, no showing my butt / go find the rest on OnlyFans,” they quip on that latter song about baths but also being too depressed to go out.
All this to say, anything goes for pinponpanpon. Perhaps the same could be even said about their identities as idols altogether. While they indulged in (spoofed?) the ever-prevalent audition programs when looking for their new member, they seem more to be idols simply because they claim to be on their online bios: “Japan’s number-one idols yay,” reads the one on their X account. Which in a full-circle moment might the most idol move to do because, if the late Idol Warring Period has taught us anything, anything goes for idol.
But as messy as they appear, the trio undeniably present one cohesive, if not complete concept, one first introduced in their title track of sorts, “PinPonDash.” They literally ding-dong-ditched into our lives, showing who they are in its unfiltered, electro-sizzled glory. If anything, this can qualify as their most idol-like, with the idols too shy to confess their feelings, running away instead when the opportunity arises, and thus the ding-dong-ditching: “Hey… You know how we always walk home after school while holding hands? I couldn’t tell you all this time but…,” they divert into dialogue like a twisted version of a Tsunku-song monologue, Kansai-ben and all. “Ah, never mind!!! I still can’t say it!!!” From their name, sound to concept, pinponpanpon is all play in the trashiest fashion, but only few in idol can match them at their game.
2) “ureshiino” by Batten Shojotai
I can’t ignore the huge echoes of Perfume’s GAME heard in this chirpy, jazzy electro-pop. But whereas the trio embraced the busyness of their buzzing synth beats, Batten Shojotai yearn to escape the noise. While a wonky bass line crowds the track here and there, “ureshiino” overall remains decidedly low-key: “I’m going on a journey / please don’t look for me,” the idols begin in a sigh as they search for a more easy-going kind of life. When their lyrics are carried in such a breezy production, though, the weight of stress seems almost nonexistent, and the starry beats eventually give way to a moment of bliss: “Ureshiino,” they sing in the chorus, feeling so free, blessed and renewed, and there couldn’t be a simpler, more pure word to describe it.
3) “Kimi No Mune Ni, Gunshot” by RYUTist
“Kimi Ni Mune Ni, Gunshot” sounds as if the world of RYUTist and their sunny, pastoral pop has approached a devastating heat death. The stark environs of its icy electronica seems too inhospitable for life other than the glitched-out synth loops frothing over the tense techno beat. Voices emerge from the dark like a specter to sing a haunting memory of what perhaps once was a chorus of a bubbly idol song: “This heart, it’s pounding / I’m aiming for your heart, gunshot.” In another world, it may have been sung with a cute finger-gun gesture; in a harsh atmosphere like this, the affectionate hook warps into something more unsettling.
4) “Saijokyuu Ni Kawaii No!” by Cho Tokimeki Sendenbu
Many groups submitted their own TikTok anthems this year to encourage fishing for attention in winking-cute poses, and Cho Tokimeki Sendenbu turned in the best of the kind. The fancy string intro suggests yet another airy idol-pop single to follow up their previous breakout hit, “Suki!,” yet the sugar-sweet sound and the idols’ equally bubbly persona are a Trojan horse to sneak in a deep-digging hook full of spite: since you broke up with me, I’m the cutest I’ve ever been, they boast with the biggest, not-so-innocent smile. Toki Sen rub it all over his face of who came out the true victor from this nasty break-up, like this is their “Since U Been Gone.” And with thousands of others singing and dancing to their song revealing his crimes of heartbreak, success really makes for the sweetest revenge.
5) “Underground” by f5ve
F5ve perform their para para choreo over a hollow-out production that resembles a scrap heap where a Eurobeat disco used to be. What’s in place of bright synth leads and pumping beats is a lone electro bass line throbbing in the industrial underground with drums skittering across the metallic surface like a swarm of insects. “A place where I can finally be who I want / let’s all go together,” the idols sing. Though after a life-sucking routine based around their 9-to-5, they sound so drained it’s unsure whether they actually make it out to the dance floor. F5ve romanticize the music and freedom that the club supposedly offers, but their reality doesn’t sound so romantic.
6) “SPIN” by AMEFURASSHI
AMEFURASSHI aren’t done with club music. In “SPIN,” the four-piece trade ’90s diva house and its superhuman powers for sleeker beats of a busier rhythm to navigate more everyday affairs. Though they move along to the dizzying skips of the UKG beat with finesse, the idols don’t fare too well trying to tiptoe across their grey zone of a fling perhaps nearing its expiration date: “What’s gonna happen to the two of us,” they wonder aloud, exuding an unaffected cool but also a lack of passion themselves. They’re so ready to respond, yet for the first time, AMEFURASSHI opt out of making the first move.
7) “secre7arys” by situasion
In between their electronica epics, situasion would also provide a more grounded funk number or a hip-hop detour almost as insurance in case they went too far. But this year, the group held nothing back and went in on the most bombastic electro beats on songs informed by inscrutable lyrics and an esoteric obsession with numerology. “Secre7ary” is blistering as they come, its metallic slab of a production leaving behind craters with each megaton beat drop. But as austere as it is on its surface, it carries on its tour of destruction with grace as if to remind you this is an idol song at the end of the day, meant to be performed via choreography on the live stage. Cold and harsh, and yet their identity as idols remain intact.
8) “MAKE A MOVE” by ASP
ASP fight to break free from inertia in “MAKE A MOVE” as a means for survival. The blast of industrial-metal spells out the group’s hunger for more with as much subtlety as a sledgehammer to the skull. But while they implicate all-or-nothing stakes behind their chase for thrills, the idols also treat their search like a twisted yet exhilarating game of schoolyard tag: “But if we stand still, they’ll catch us / so run with us / and make a move,” they whisper like a playground nursery rhyme before they sprint away in the chorus, screaming in excitement, feeling the adrenaline rush. If the idle life is a death sentence for ASP, they make a hell of a run away from it.
9) “Click” by ME:I
Sticking to the K-pop roots of ME:I, “Click” is all about the titular hook, incessantly repeated in the chorus as if to grind it down into mere syllables. To be fair, it is part onomatopoeia — K-pop’s favorite, if not genre-defining lyrical trope — and they put in work to drill it as a form of pure sound effect, baking it into its camera-shutter point dance that took over Japan this year. You’d be forgiven if you were distracted from all of the pop dazzle — the mesmerizing repetition of the hook, the zigzagging electro-pop, the TikTok-ready dance — to realize that “Click” is indeed a call to action: “let’s click / we’re going to tear it open,” the survival-show winners declare, bringing their trusted fans with them as they write their future. It’s just too bad “connect” doesn’t ring as catchy as what they chose here.
10) “My Long Prologue” by tipToe.
TipToe. jot down their earnest teenage emotions in “My Long Prologue” as if they will never feel anything this important again. Their passion is told through the exuberance driving the song’s spiky emo-rock but also the restlessness in which the idols’ lyrics pour out, their lines constantly on the verge of spilling out of the page. And running with such persistence, tipToe. perhaps already knew very well that things won’t last forever, with the group performing their last-ever show later on the year. “I’ll remember everything that we encountered / I’ll keep everything inside my heart / they they sing in the final chorus, the fleeting rush of it all ringing bittersweet with them now gone.
11) “Aosugiru Sora, Owaranai Uta” by Solaris in the Rain
Solaris in the Rain return to the math-rock of their early days in “Aosugiru Sora, Owaranai Uta” after a brief dip into funk, but despite the nostalgia-inspiring music rushing behind them, the group isn’t too excited about thinking about what’s now behind them. “I won’t hear the reason / but please always be open going into the future,” they shout in the chorus, faced with an impending separation. While their unfortunate break-up opens up a well of old memories, the idols instead prioritizes what lie ahead.
12) “Ikutsu No Koro Ni Modoritainoka?” by Sakurazaka46
In their most exhilarating statement record yet, Sakurazaka46 live and breathe their very excitement for what’s in stores for our future. The scrambled rock spares no time to rest and look back amid its high-speed rush, and neither do the idols, who can care less about what’s now behind them, constantly shaking us loose from the trappings of our own nostalgia. “If we’re going to dream / I want to dream about the days ahead,” they declare. And this grand celebration coming from a group who once preached “no future, no past.”
13) “Furarenai Kiseki” by Sayonara Ponytail
Despite them just saying goodbye at the start of the song, Sayonara Ponytail sing as if they’re reminiscing about a friendship from a decade ago. While they come to terms with a newfound sadness born from their separation, more complicated than the loneliness of their youth, they sound more resigned than devastated dealing with their solitude. The melancholy indie-rock reflects their shrug of an attitude but it also gives off a slight shimmer, of hope, perhaps of a long-awaited reunion.
14) “Ice Bahn” by usabeni & nonayu
Usabeni flexes her (K-)pop savvy in “Ice Bahn” as she has been with her solo output, importing the club thump prevalent in today’s pop into her sleek R&B sound. If the ping-ponging beat moves with more frenzy than usual, the hyperpop presence of her former FRUN FRIN FRIEND nonayu might answer for that. Together, the reunited idols pull the best from each other while striking a delicate electro-pop balance.
15) “Tokuchu Haute Couture Dance” by Appare!
In “Tokuchu Haute Couture Dance,” Appare! get handed with more. “Hey, isn’t the tempo pretty fast?,” the idols break the fourth wall to ask about the song written by denpa-song veteran Tamaya 2060%, “about triple from last time.” The arrangement gets busier, the lyric sheet full of nonsensical rhymes, and yet Appare! continue to incite cheers and the most intense wotageis without missing a beat.
16) “Koi, Tsunjatta” by AKB48
AKB48 find themselves at a crossroads in “Koi, Tsunjatta.” “This love is done for / you got me finished,” the idols shout in the titular chorus a pair of lyrics that perhaps captures the minds of fans following AKB amid drastic line-up changes, including a graduation of the last of their classic generation. Yet the charging force behind its brass-band anthem evokes not ambivalence but an all-in confidence to see through the very end of their decided path, whatever that may be.
17) “Update” by EMOOTE
Two decades since the debut of Perfume, the sound of electro-house is still intrinsically tied to the language of technology. Nothing feels off about EMOOTE sing of self-improvement in “Update” like a version upgrade when the tech jargon comes packaged as a pop hook atop the neon-hot synth beat. But more than its digital feel, the trio harness how the sound evokes a sense of an exciting future as they seem thrilled to meet their new, improved selves.
18) “MURI” by FR2PON
After trying out different modes of electro-pop, FR2PON! turn in their best results by embracing whimsy drawn from their denpa idol peers. Like their inspiration, their lyrics lean nonsensical while following almost no logic. The frazzled beat, too, zigzags across the space like a pinball, especially in the sliced-and-diced drop of a breakdown, where it unravels the group’s true color in “MURI” as a future-bass unit in denpa idol clothing.
19) “Zettai Idol Yamenaide” by =LOVE
=LOVE share a deep understanding of oshikatsu in “Zettai Idol Yamenaide,” from the routines fans partake for their idol to the feelings gained from those routines that keep fans going. But while their string-laden ode to fandom sounds as rosy as the love that drives the rituals, the single cuts personal through its underlying knowledge that your favorites will hang it up someday. “Please, let me be under this spell forever,” the idols sing during the song’s last moments, desperately holding on to the magic as long as they can.
20) “NEW KAWAII” by FRUITS ZIPPER
FRUITS ZIPPER have celebrated plenty about their own reflection, and now the group projects that enthusiasm over everything cute outward to sing, hey, kawaii is all around us. The idols lollygag to the tune of bubbly brass-funk while looking out in awe at “love, the future, snacks, make-up, friends, smiles, sleep,” but also, more importantly to their self-development, the character of someone else. While they haven’t fully grown out of their self-obsession — “The person I love was new kawaii / I wish even a little bit of it is because of me” — you can still consider “NEW KAWAII” a genuine update.
21) “Boom Boom Bee” by .BPM
First, they were dancing chickens, and now .BPM are killer bees hollering and swarming once again to a drop of flashy Eurobeat.
22) “Altanate” by Payrin’s
Crowding themselves in with frantic math rock and a breathless internal monologue of a verse, Payrin’s paint themselves too tightly into a corner to really self-examine with care.
23) “Tokyo Blur” by Juice=Juice
After covering a few city-pop classics, Juice=Juice navigate their own city romance in “Tokyo Blur.” Despite the synth-disco glimmer casting them in glamorous lighting, the idols don’t bask in the start but the imminent end of a beautiful thing. Their headstrong vocals, though, suggest anything but heartbreak behind their goodbyes. “Taking back the wheel / hopping off the passenger seat / of a sleepless love,” they sing in the final chorus, and as they indulge one last time in an even higher series of notes, they sound exuberant and free.
24) “Welcome to the Show” by MISS MERCY
MISS MERCY show off their worth to a mesmerizing rattling of metallic clanks and scrapes.
25) “CRYSTAL DROP” by Shiritsu Ebisu Chugaku
Among their polished R&B update, this heartbroken break-up ballad from Ebi Chu stuns the most.
26) “Monopoly” by Nogizaka46
“Monopoly” exposes the mind of a naive fool who’s desperately trying to undo their wrongdoing caused by their own hubris, stirred by jealousy, mistaking kindness to mean something more. The opening scene — the fool furiously pedaling their bike to catch up to the train — illustrates their urgency while letting the energy flow to the propulsive string pop. I thought you were all mine, they helplessly admit in the form of a dad-joke of a punchline: kimi wa boku no mono(poly). Placing this much enthusiasm for a knee-slapper pun, maybe I was the fool all along.
27) “Last Chance, Last Dance” by Not Equal Me
Not Equal Me’s feelings for their high-school crush are on the verge of spilling out, its radiant power-pop practically already bursting out of its seams, and yet this love is fated to be unrequited.
28) “Deep Drip Trip” by YUION
YUION’s take on loud, zigzagging future bass comes off inspired as the group pivot from cute pop group to tough-as-steel hip-hop unit seamlessly on cue, adapting to every curve ball thrown.
29) “Bibitaru Ichigeki” by Angerme
Bold, tough, ready to give it their 100% authentic self—it’s classic Angerme.
30) “Sai KIYOU” by Morning Musume ‘24
“The most powerful and the most skillful,” Morning Musume declare as bold as the bombastic New Jack Swing behind them, and there’s not an ounce of doubt.
31) “CATASTROPHE” by KILLERMACHINE
Violent hardstyle beats lives up to the name that the soloist has given herself, and the sheer volume of it makes for an exhilarating ride.
32) “Oshi Koi” by ukka
Whimsical, syrup-sweet, and ready to pop any minute, the fizzing synth-pop of “Oshi Koi” vividly captures the school-ground crush blossoming in ukka.
33) “Kuzu Idol” by BLUEGOATS
BLUEGOAT call themselves total trash—piece-of-shit idols, to be exact—yet their punk-fueled self-loathing brings about a kind of exuberance after realizing, well, there’s nowhere to go now but up.
34) “Kimi To xxxx Shitaidake” by Phantom Siita
The wild range of vocal inflections and the hairpin turns from one mode to another surely take from the playbooks of the group’s producer Ado. But Phantom Siita solidify their own unique aesthetic in “Kimi To xxxx Shitaidake” by further indulging in the macabre. Stepping out to the sound of shadowy new wave, they sing of an intense yearning and a fervor taste for blood as inseparable desires. You’re never sure whether the obscured four-lettered word in the title points to “kiss” or “kill,” though you get the sense that to them, there’s really no difference.
35) “Inkya No Kyakyakya” by NANIMONO
A restless, denpa-fueled anthem for the introverts that sounds anything but meek and quiet.
36) “STiLL BE CHiLD” by BiS
A child’s tantrum shouldn’t come with such a sweet, taunting hum of a hook nor a bangin’ punk riff.
37) “Koihajimari No Diary” by courtesea
The slick break beats send a jolt to the dreamy MOR breeze, like a pinch to the cheek to snap back courtesea, head over heels, to the present moment.
38) “Kurayami No Tetsugakusha” by Boku Ga Mitakatta Aozora
A pensive synth-pop beat and a sleepless night drive Boku Ao into deep, stark self-reflection.
39) “Silly Garden” by REIRIE
Hirihiri deconstructs the inseparable duo’s glittery punk-pop into zany hyperpop.
40) “Don’t Look Back” by LiVS
LiVS craft an underdog’s anthem in “Don’t Look Back.” Rather than wallow in their losing streak like their predecessors in WACK, however, the group put their best foot forward as they accept their fate. A youthful exuberance flows through their scrappy pop-punk, extending to the idols a kind of devil-may-care attitude toward the obstacles ahead.
41) “Kimi To tea for two” by WASUTA
Daydreams about a date over tea and perhaps some more deserve an equally rosy, pastoral jazz-pop arrangement.
42) “Saidai Fuusoku” by SANDAL TELEPHONE
Time is running out for the trio to capture what they want, and the zippy funk races on just as intensely.
43) “Kimi Mind” by Planck Stars ft. Top Secret Man
Two mischievous forces link up to cause noise-punk mayhem.
44) “Numare! My Lover” by Iginari Tohokusan
If the sound of this incessant denpa pop refuses to leave your brain, it only means Iginari Tohokusan succeeded at what they set out to do.
45) “Hotel New Atami” by Tokyo Mousou Chizu
A part love letter to the glossy new wave of the 80s, and perhaps the CM-ready hooks often accompanying them, Tokyo Mousou Chizu imagines in “Hotel New Atami” a fictional jingle for its new titular development in the seaside city — “Hold on me, Atami / the Monaco of the Pacific,” she cheekily sings. It’s certainly written in part to incite a laugh, and the song’s scrappy touches, from the idol’s squeaky voice to the amateur flourishes, lends it even more a feel of a charming homage. But the group invests enough attention to detail crafting “Hotel New Atami” for it to transcend status as mere parody.
46) “Hooke No Housoku” by BEYOOOOONDS
When he fathered P-funk, George Clinton imagined funk music as the stage in which to let his most extravagant, and extraterrestrial, concepts come to life. But was the law of physics ever in his cards? Literally titled “Hooke’s Law,” BEYOOOOONDS take on Clinton’s patented vintage funk to celebrate the science of elasticity. The idols stretch out a double, triple, quadruple entendre folded within the equation “f=kx,” and they shout the best lyrical pun loud and proud in the chorus: “Let’s go beyond / be yourself.”
47) “Love Kyun Wanted” by Kyururintte Shitemite
Kyururintte Shitemite’s frazzled denpa-pop chase to wrangle the biggest bounty in idol—your love and attention.
48) “Aise, Shigoku Sanzan Na Bokura No Hi Wo” by ONE LOVE ONE HEART
Stardust Planet’s co-ed group dedicate an optimistic power-pop anthem for those uncertain about their path ahead.
49) “Chihayaburu” by OCHA NORMA
To the tune of edgy, bombastic rock, the once-Hello! Project rookies declare they’re not so little anymore.
50) “Bakkyaro! LOVE” by Furukusai Machi No SUKEBANZ
From its sleazy rock riffs, street-rat dialect and cheesy dialogue, the Tsunku-isms are on full display from this fictional sukeban-concept group.
51) CUTIE STREET - “Kawaii Dake Ja Damedesuka?”
52) REBEL REBEL - “STEREO ATTACK”
53) airattic - “Natsu No Owari No Apartment”
54) Dempagumi.inc - “BPM285EX”
55) nicora ray ark - “Rise”
56) Kaede - “Ikenai”
57) RAY - “Haru Nante Zutto Konakeryaiinoni”
58) Buttobi Pandemic - “Chuki Chuki! Mamimumemo”
59) Sakina Tonkichi - “Doushiyokkana”
60) Finger Runs - “Enola”
61) Hinatazaka46 - “Zettaiteki Dairokkan”
62) Kindan No Tasuketsu ft. Ebiita & akorine - “Long Distance”
63) Yukushirezu Tsurezure - “GENESIS”
64) ExWHYZ - “Sweet & Sour”
65) Anthurium - “Denpa Hack Radio”
66) Ringwanderung - “Wednesday”
67) XUDAN - “Time Slip Combinate”
68) SKE48 - “Kokuhaku Shinpakusuu”
69) Shiori Tamai (Momoiro Clover Z) - “Shape”
70) ponderosa may bloom - “After Pool”
71) Tsubaki Factory - “Baby Spider”
72) Lily of the Valley - “virtual addiction”
73) NANONI - “unfinished futures”
74) New Radio Taiso Club - “Saitei!”
75) AVAM - “Make♡Marking”
76) NiziU - “RISE UP”
77) selfish - “Blue”
78) Broken by the Scream - “Gekkou Karen Stripe”
79) munen - “Kokoro Dokei”
80) FES☆TIVE - “Cosmic Matsuri Daikakumei”
81) NOVA - “Hyper Raiser”
82) Koutei Camera Girl Vier - “Aragauwa”
83) SW!CH - “Altair”
84) NGT48 - “Isshun No Hanabi”
85) Girls2 x iScream - “D.N.A.”
86) NMB48 - “Kore Ga Ai Nanoka?”
87) Taiyo To Odore, Tsukiyo Ni Utae - “Plastic Showcase”
88) yumegiwa last girl - “Kataware”
89) CUBELIC - “Weather Report”
90) Odoro - “xxxx”
91) iScream - “Jellly Fish”
92) FOKALITE - “Quiet Dance”
93) Satori Monster - “Utakatakatari”
94) Tokyo Girls’ Style - “Fallin’love Na Toki”
95) ELSEE - “POW POW”
96) KIMITOWA - “Kawaiidake No Watashi Ja Naino”
97) Psyche & Raga - “Cesare”
98) KiSS KiSS - “Rakuen Kyu-topia”
99) ATARASHII GAKKO! - “Fly High”
100) Kiyoshi Ryujin 25 - “Will you marry me?”
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