This Side of Japan's Top 100 Songs of 2024
Collecting our favorite songs from the year by Sasuke Haraguchi, Regal Lily, KOTONOHOUSE and many more
Hi! Welcome to the Best of 2024 edition of This Side of Japan, a newsletter about Japanese music, new and old. You can check out previous issues of the newsletter here.
Perhaps more than any other year so far, the internet provided the main home to much of the music collected in this list of the best Japanese songs of 2024. From virtual idols to digicore rappers, Soundcloud ravers to Vocaloid scientists, TikTok sensations to Discord-chat conspirators, the artists broke through IRL from the URL while inspiring how the on-the-ground acts shaped and delivered their records. It’s fitting, then, that my number one comes from a J-pop icon who started the internet revolution more than a decade ago and is now handing out records to the biggest traditional-media institutions, including the very song at the top of this list.
Here are our top 100 songs of 2024. Idols got their own list, which you can check out here. You can browse this list as a text list here. You can also check everything here as a Spotify playlist here.
1) “Sayonara Mata Itsuka!” by Kenshi Yonezu
I don’t know how much Kenshi Yonezu knew about the full plot of Tora Ni Tsubasa when he wrote the morning TV serial’s title track “Sayonara, Mata Itsuka!,” but he was right about one thing: a mellow, ballad-like tempo doesn’t suit a song for such an increasingly complex show. The composition needed to match main character Tomoko Sada and her constant, vocal yet sound questioning of authority. This was a character whose catchphrase was, in my rough translation, “but is that so?” taking the spirit all the way to up the ranks of the country’s judicial system. And so he instead wrote for it a pop rhythm with more of a pep in its step but also hints of anger and frustration.
Just as important to capture as her tenacity, though, was the levity brought through Sairi Ito as the show’s main actress. For one, there won’t be another NHK asadora with its star making as many memorable facial expressions as she did for some time. As Tora Ni Tsubasa progressed during its six-month run, those silly faces became increasingly necessary to lighten a plot driven by heavier and heavier topics. The start of the show’s latter half followed war victims and their lawsuit against the country of Japan for damages from the nuclear bomb dropped by the U.S.. And during its last months, the story revolved around a case eventually taken to the Supreme Court regarding parricide, domestic abuse and incest.
Yonezu reveals a sense of humor in ways more subtle than a goofy scrunch of his face yet a playfulness nevertheless shows through his songwriting quirks. He gets lost playing around with rhyme, syllabic consonance and syntax, the lyrics dancing in sync with the light, frolicking piano riff like he’s singing an old-timey riddle. It’s almost light-hearted enough to take attention away for a minute from the more bleak imagery like him spitting out blood in the chorus or a lyric nodding to a gravely serious quote from the show: “Beyond that very hell / is where I’ll witness spring,” he sings partly in reference of the exact way in which Tomoko’s mother asks her then-teenage daughter about her chosen life that’s headed completely off the beaten path: “Are you really ready to commit to a life of hell?”
As sweetened up as “Sayonara, Mata Itsuka!” might sound, Yonezu doesn’t sugarcoat, opting for a more resolute song about, well, gestures to everything. “Will you remember it, 100 years from now? / not like I know,” Yonezu goes in the chorus, and his shrug remind me of another singer-songwriter who backs away from claiming any authority but not without handing us a worthwhile thought to ponder about, telling us to pursue what we want or don’t!, and just follow your instincts wherever it points. Even a lyrically candid songwriter like Aimyon cleaned up her act when writing for her asadora theme, scrubbing away graphic scenery or dark sentiments in favor of a more heart-warming result. For “Sayonara, Mata Itsuka!,” Yonezu resists indulging in both a story of triumph and tragedy, resigned to tread through a life of hell simply as just life.
2) “Igaku” by Sasuke Haraguchi
No artist this year blew my mind more than Sasuke Haraguchi. Catching the producer sneak his “internet gone sentient” sound into J-pop was like witnessing him pull off the biggest heist several times over, and his most impressive trick was “Igaku.” The brief two-minute track certainly sounds alien on its own. If early Sophie was a Vocaloid producer, she might have cooked up this liquid IDM track where industrial clanks, guitar squiggles and abrupt vocal gasps bounce around the negative space with glee. But the fascination comes from how the public embraced “Igaku” in spite of (or because of?) the oddball composition, the record inspiring a viral dance move and many vocal covers. Far out as it might sound, and bizarre as it might move, “Igaku” became pop through the people’s vote — a victory for weird, internet music.
3) “nichijou:loopmania” by lilbesh ramko
The scuzzy bass line in “nichijou:loopmania” bulldozes the production like head bashing against a wall. Perhaps the head-banging comes from lilbesh ramko, inflicting self-damage in order to feel something, anything as he tries to pull himself out of his boring loop of a life. The song does sound more bruised after the initial battering, and thankfully, more inspired: the beat turns increasingly frenetic, prone to twisted breakdowns, while the artist’s voice grows into a more aggressive scream, temporarily relieved until his tolerance builds and the high inevitably wears off. lilbesh is forever stuck on this elusive chase to alleviate the numbness, but his search leads him to some of the most exhilarating electro-pop stimuli.
4) “MAYBLUES” by Tomori Kusunoki
Even with its slinky drums and lush chords mellowed down, UK garage at its more subdued often resembles the equivalent of a dreamy sigh. But despite the dreaminess of its subtle yet still starry arrangements, the skittish 2-step of “MAYBLUES” taps more into a melancholy alluded in the title. “Mayday, I can’t get the feeling to do anything at all,” Tomori Kusunoki sighs in the chorus, her wispy sighs shot with defeat. And like its singer at the center, the beat is going through the motions, searching for some kind of pulse.
5) “Arakawa” by kegøn
The lingering vocal hook nicked from TikTok sensation “Tek It” tells all about how “Arakawa” materialized out of internet spaces even before taking account for the digicore accents of silvery synth drones, sputtering percussion and random mixtape DJ drops filling the production. But its looped lyrics — “I watch the moon / let it run my mood / can’t stop thinking of you”—also taps into the volatile mood swings driving kegon in between flexes of designer clothes and bands earned from gigs. “Seriously, shut up loser, I don’t give a fuck,” he quips, only to then skip to a scene of him in the morning holding his head in regret. The turbulence at the heart of the music suggests there’s not much he can do but ride it out.
6) “Suteki” by RIM & KOKO
While its pensive rock arrangement further broadens her musical palette, RIM’s duet with KOKO — a fellow peer together in the virtual-singer group V.W.P. — doesn’t add on than it peels back the layers. The two grasp at the bigness of the swelling guitars in the chorus in hopes to will into being some needed dose of optimism, shouting out loud exactly what they want: “Please let something idyllic happen!” Yet they can’t quite feel at ease, partly embarrassed from screaming out such a lyric in earnest but also hesitant to wholly believe it will actually come true. More than stylistic flourishes, the singer hits upon a newfound yet also familiar kind of melancholy.
7) “BAKU” by KOTONOHOUSE, DC Mizey & e5 / 8) “PARADIGM” by e5 ft. CYBER RUI & KOTONOHOUSE
Japan’s digicore underground and the country’s rap mainstream seemingly operate as wholly separate scenes; the artists of the former tiptoe into rap proper, though often has their hands dipped simultaneously into several other sounds. Then there’s e5, putting out banger after banger while working with names from both the over- and underground. She acted as the frontwoman to KOTONOHOUSE and DC Mizey’s wild future-bass explosions that competed with the bit-crushed beat works of her digicore buddies like kegon and lazydoll; but she also slid in naturally among the company of CYBER RUI, fast-rapping across (once again) KOTONOHOUSE’s wub-filled electro-hop. If things got too loud, she burrowed back to her emo bedroom-rap roots, recording alone in the style of her beloved 4s4ki or on mellow garage beats with utumiyqcom. While e5 made herself at home in whatever style she wanted to partake, she also became the crucial core linking the disparate scenes. She was, easily, the rapper of the year.
9) “skyskysky” by Peterparker69 x Tennyson
Peterparker69’s last ode to escaping this dull world came with a rock-and-slide dance move fit to accompany the unbothered vibes flowing in the duo’s hippie synth-pop. In “skyskysky,” Jeter and Y ohtrixpointnever now peace out of boredom as hyperpop cowboys, giddying up on a galloping glitch-pop beat. While the hiccuping production burps out fuzzy, atomized sounds—the scrambled textures rubbing off perhaps from phritz being in the mix—the duo rides along without a care until they fully lose sense of why they even go into this mess to begin with. “There was something, something I wanted to tell you / But I don’t know what I wanna say now,” goes a refrain. The fast life must be good if they get this lost in it; they no doubt make it sound freeing.
10) “7” by 7th Jet Balloon
Spiky pop-punk such as 7th Jet Balloon’s fuels any larger-than-life claims with a sense of invincibility, the exuberance of the music practically willing the needed confidence to existence. But the indie-rock duo announce their self-importance with such conviction in “7,” calling it a mere team huddle would be a disservice. There’s not a hint of doubt behind their all-or-nothing claims to succeed and breakthrough. They earnestly shout their contracted moniker at the top of their lungs, reminding who that we is in exact reference to: “We can do it / it’s VenJeBa!” All the mic-drop expletives at the end — “watch me, motherfucker / please don’t fuck with me” — is a bonus when they’ve already said it all with an unimpeachable intensity.
11) “Crystal” by TREKKIE TRAX CREW
Is it possible to distill the essence of Japan’s most iconic DJ/producer crew from the past 15 years into a three-minute club track? “Crystal” gets pretty damn close. Wearing the crew’s reverence to dubstep, garage and jungle boldly on its sleeve, the big, loud, colorful slab of a beat leaves you, and perhaps the collective too, in a winsome grin: they hardly waste time getting into those swinging stab of pianos while peppering the classic rave material with pirate-radio textures of dial tones and chirped-up MC drops. If it feels like a teaser to a glorious, more fleshed-out anthem, it’s Trekkie Trax keeping you on your toes for what’s to come.
12) “Kyuseishi” by AAAMYYY
The lyrics in “Kyuseishi” resonates with a religious tenor, especially following an album full of references to prayers and reincarnation. “You are always there for me / my savior,” AAAMYYY sings in the chorus. Her verses seemingly channel gospel when they stand on their own yet the song hardly feels rhapsodic. The singer instead hand her token of appreciation with an unassuming casualness, thanks in part to a breezy R&B production that glides along with sleekness. Her delivery is passionate yet remains deceptively smooth.
13) “Beyond me” by Suichu Spica
Suichu Spica restlessly jam in their pastoral math-rock to reach a kind of spiritual transcendence. As the sprawling instrumental soars, frontwoman Chiaki searches for meaning in a decade’s worth of wear and tear inflicted from life’s cyclical waves. Their feather-light jamming resists the weight of the doom and gloom that might come from staring into eternity. “beyond me” ultimately sparkles with blind optimism, the band singing everything will make sense in the end.
14) “Houkago Wa Anata No Tameni” by kinoue64
Many of kinoue64’s shoegaze confessionals take place in school grounds, and the final bell signals not a time of freedom but a state of panic in the penultimate track to the one-man band’s Shiawase Ni Kurasone. Worrisome details slowly emerge from the bleary wash of guitars as the warbling vocals dole out the lyrics one choppy vowel at a time: a shot of stress triggered from being assigned after-class duties, a rushed escape to the health room, a nervous mind closing themselves off. The languid music, then, helps as a kind of sedative, scattering the heat of their growing anxiety before it can bubble up into anything worse.
15) “Kirakira No Hai” by Regal Lily
Regal Lily’s energetic burst of power-pop pairs well with the vibrant beat of anime, and yet their actual breakout hit for Delicious in Dungeon hits rather somber. The spark is all gone behind the guitars in “Kirakira No Hai” while Honoka Takahashi’s lyrics are hazy with the specifics. When all of the abstract imagery — a compass to navigate the vast distance, starry ashes dancing in the wind — layer with her interpolation of “Twinkle Twinkle Little Star,” the nursery rhyme turns almost elegiac.
16) “memorycard 15” by Inu
A lyric in “memorycard 15” glows like a light bulb suddenly flashing with new life: “I can keep on living,” Inu remarks, their voice raising ever so slightly from their bedroom whisper, as they recount the dear things in their life that help them persevere. And the rest of this delicate synth-pop is a fight to keep their flicker of hope alight, with a starry EDM beat drop bursting out of the production as if to fuel the fire for a little longer.
17) “Buffer” by Empty old City
Empty old City sing of disruption in “Buffer” as a surreal sensation akin to a glitch in the Matrix. Through a series of impressionistic lyrics, kahoca try to find the language to describe an inexplicable rip in time’s fabric while Neuron’s starry future-bass beat further draws out the out-of-body aura of this deja-vu-like phenomenon. And the awe-struck tenor of the duo and their cosmic EDM-pop prove engrossing.
18) “Love Me” by Kana Hanazawa
While a production style often treated as a private room for safekeeping secrets, this bedroom-pop-ified drum ’n’ bass supplied by Guiano acts instead as a launch pad to broadcast Kana Hanazawa’s self-proclamation of pride. “If I can’t live like myself / I’ll show them and end myself here,” the voice actress declares in the chorus, her conviction delivered as effortless as the weightless beat.
19) “Somatsu” by TIDAL CLUB
A weathered emo riff once again personifies the most defeated soul in a single from the indie-rock band, if not more soured than their last. What’s the point, they sigh with deep resignation, of the trash starting to pile up in their room, the stupid news always on the TV, or just complaining about their predicament in general. They go in circles like this, yell at themselves once in a while as the guitars ramp up in response, and keep trudging along.
20) “Zenhoko Bishojo” by noa
Though she has tried out different modes, before and after she’d gone viral on TikTok, noa has had the biggest success so far with songs crafted from the drafts of “Zenhoko Bishojo.” The flaunting verse is all a run-up to the ego-feeding chorus that comes with a pseudo-photoshoot choreography all sync’ed to its scrappy pop-punk riff: “from the front, from the side, from below / you’re so gorgeous,” she goes on as the person behind the camera, capturing you at your best angles.
21) “MOSHI MOSHI” by Nozomi Kitay & GAL-D ft. MUKADE
A sugar-sweet R&B ode to being sprung, the kind that Nozomi Kitay sums well with a irritated yet secretly satisfied groan: “I’m so annoyed, but I want you.”
22) “Super Generation” by RYUSENKEI
While RYUSENKEI’s metropolitan jazz-funk continue to evoke the lush pop era of the past, the band celebrates how no moment feels richer than the one they’re experiencing now in the present.
23) “Vraveater” by gaburyu
The blown-out beat goes haywire with glitched synths buzzing non-stop, and yet IA fights against the noise to instill hope in a hopeless heart.
24) “Jubilee” by Suisei Hoshimachi x Kaede Takagaki (CV: Saori Hayami)
Got to hand it to Bandai Namco for bringing the magic with this gorgeous, sultry electro-funk collaboration between two virtual singer icons.
25) “Empty” by Pasocom Music Club ft. Le Makeup
Pasocom Music Club recapture the energy that once filled a room in their best songs: the events that transpired on the dance floor, the memories made to wonderful beats. While the duo attempt the same in “Empty” with Le Makeup, the barren present in which they sit looms awfully heavy as they reminisce. Le Makeup yearns for intimacy but also pure body heat, and somber synths flicker like a lone candle in his dark, vacant bedroom. Especially as it closes out an album full of club-house magic, it’s a sobering de-trip back down to a disenchanted reality as the duo take stock of what once was available in spoils.
26) “Watch Me” by Amano Risa (CV: Maeda Kaori) & Tachibana Mikari (CV: Kito Akari)
A shiny, sweet and grooving piece of electro-pop that inspired a small dance craze participated by idols and cosplayers alike.
27) “Palette” by Hashimero
The bashful singer-songwriters appears sprightly on the outside yet restless on the inside in this zig-zagging synth-pop, channeling the obsessive personality behind its tie-up OL rom-com.
28) “HyperNova” by m-flo loves Maya
The J-pop architects trade UKG slink for Jersey-club sputter, and yet their R&B remains sleek and futuristic.
29) “Hatsu KO Kachi” by Shiina Ringo & Nocchi
Our favorite electro-pop bob practically plays co-frontwoman of Tokyo Jihen, snarling and howling with Shiina Ringo to a stuffed tune full of crooked guitars, jazzy keys and a wah-wah bass line.
30) “Pointless 5” by Scha Dara Parr & STUTS ft. PUNPEE
Soulful boom-bap unites three generations of Japan’s hip-hop scene under one track in “Pointless 5.” Scha Dara Parr and their golden-age flow are nimble as ever over STUTS’s MPC-cooked beat while PUNPEE adds some pop flair for his forefathers with a laid-back R&B hook. While the assembled supergroup strikes timelessness, the mellow beat rings with slight wistfulness, and their meditation on how the times don’t change ring less as a rosy reminiscence about how things were than a reminder that the search for the perfect rhyme has yet to stop.
31) “Conceive the Sea” by marucoporoporo
Swelling synths swell and acoustic-guitar riffs freely drift while marucoporoporo wordless echo in the murky sonic field, “like the breath of life heard from the ancient sea.”
32) “Soaring Heart” by Liyuu
The grace in which the Liella! member articulates her feelings amidst the overflowing synth-pop sounds—an effervescent mix of surging synth drops and other assorted electronic speckles—gestures to a more mature turn for the artist.
33) “emotion+” by aryy ft. kegon & lilbesh ramko
“Tell me what I do with this emotion.” aryy turned this inconsolable urge into raw, digitized pop-punk in the original “emotion,” Surrounding himself in the company of kegon and lilbesh ramko — his peers in the digicore underground — he no longer has to wrestle with those emerging stresses alone. The camaraderie informs this rework especially when the guests re-tool the pop-punk production more to his respective style as they hop on the mic: speckling of bit-crushed synths by kegon, a screeching electro drop from lilbesh ramko. What was once a loner’s anthem, the three together end up striking this newfound, infectious vibe of just doing stupid shit with my friends as the three all search what to do with all this time.
34) “Zattou, Bokura No Machi” by TOGENASHI TOGEARI
The frantic math-rock plays as heated and relentless as its fictional frontwoman, of a 2D-turned-3D band behind the anime Girls Band Cry, and the blunt lyrics pours out, too, just as restless.
35) “Cubibibibism” by OMGkawaiiAngel
Keep in mind that this off-the-wall hyper-speed cut-up of the denpa anthem for NEEDY GIRL OVERDOSE, done by Sasuke Haraguchi, is the final version—it’s supposed to sound this fucked up.
36) “Evil Does Not Exist” by Eiko Ishibashi
Like the unfolding story in Ryusuke Hamaguchi’s film, a sense of unsettling danger lurks in Eiko Ishibashi’s serene theme.
37) “B.B.M.” by PAS TASTA ft. PinocchioP
The prompt behind “B.B.M.” sounds like the overblown end of what started as a simple joke among a circle of friends, each piling on with a goofy riff after riff: what if someone made a kitchen-sink baile funk track, got Hatsune Miku to beat-box the riddim, and get her to sing about being addicted to shopping? PAS TASTA’s battered funk personifies the buzz and the rot of the poor Vocaloid icon’s fried brain, restlessly chasing the consumer rush. But better yet, it captures the mischief that must drive the producer crew as they pass along the track file, each adding their maniacal twist to outdo the last.
38) “I I I” by Kobo Kanaeru & Houshou Marine
A clashing of loud, colorful, obnoxious pop personalities: Giga and Teddyloid meet their match in the Vtuber-idol duo of Kobo Konaeru and Houshou Marine.
39) “Hitchcock” by chef’s
The four-piece band shows off a coiled knot of a guitar riff before blasting off into a charged indie-rock tune.
40) “Don’t Look Back (DE DE MOUSE Jungle Flow Mix)” by SASAKRECT ft. 4s4ki, RhymeTube, OHTORA & Hanagata
In the spirit of the alternative-rap label, DE DE MOUSE reworks the posse cut celebrating a decade of SASAKRECT into a high-speed jungle-rap frenzy.
41) “Ai Ni Ikunoni” by Aimyon
I can’t help but hear “Ai Ni Ikunoni” as a kind of sequel to 2019's “Harunohi” through its faint structural resemblances to the latter: the commemorative tone, a hushed bridge, and a sentimental rush of strings. But whereas Aimyon was preoccupied then by the dawn of spring, and a love soon to sprout, the singer-songwriter recollects here in the chorus one torturous winter: “It would be too cold to wait for you / in this rusted room,” she sings after sighing about a “love letter” molding in a fridge and a ring without a recipient. “My heart is not going to last.” Once home to marital bliss, her nostalgic acoustic-pop now puts to picture how it looks when it all freezes over.
42) “Picky” by CREAM
As the R&B singer excitedly describes her ideal type of man, the faint Jersey club drums seem to thump louder and louder.
43) “Yugensha” by Tempalay
“Give me some BGM,” a voice asks to set the mood, and Tempalay responds with a suave psych-soul groove.
44) “TOMORROW NEVER KNOWS” by Mameyudoufu ft. nayuta
An elegant, starry garage anthem that evokes the kind of wonder expressed by nayuta: “maybe I’ll fall hard into love / maybe I’ll know the answer to everything / tomorrow never knows.”
45) “PEAK TIME” by Raisan
Let me introduce myself, goes comedian Saaya, now a frontwoman to a jazz-funk band in the Enon Kawatani universe, beginning one great year for her in music.
46) “F” by Forbear
Blistering guitars rain down like a blizzard yet the indie-rock trio soldier on to finally move forward from the gloom.
47) “August in the water” by safmusic, One Boiling Point & suL
An emo acoustic loop, fleeting breakbeats, and teenage malaise bridge the musicians involved in this three-part internet-pop collaboration.
48) “Neutral” by KALEIDOSCORE
The Love Live! trio try to find a way into a closed-off heart in this wistful, elegant pop number.
49) “BEHERIT” by KLONNS
The hardcore-metal band thread together all the different ends of their great album, making room for the dance as well as the brutal breakdown.
50) “Team Tomodachi (GALS Remix)☆” by Charlu, Renee Couto, 3liYen
Yuki Chiba capitalized on the craze inspired by his hit from early on the song’s life cycle, commissioning official locally-based remixes that covered a comprehensive range of Japan’s rap scene—hitting up, literally, as the rapper chants in his monotone, the West, the East, North and the South. 3liYen, Renee Couto and Charlu, though, remind of the most important group of folks that Chiba left out from his home country: the gyarus. While the beat takes out the first two space from their woozy digicore, their verses translate the brash attitudes of their own work; more the traditionalist with a pop bent, Charlu, meanwhile, goes even harder. But more than in-your-face flashiness, the camaraderie flowing in the cypher establishes the gyaru connection with the “Team Tomodachi” enterprise.
51) Milky ft. cyber milk chan - “You’ll Miss My Sine.wav”
52) Kayoko Yoshizawa - “Namida No Kuni”
53) Akari Kito - “Yume No Ito”
54) Giga & Teddyloid meets Rina Matsuda & Hikaru Morita (Sakurazaka46) - “Pikkaaan!”
55) TEMPLIME ft. Neko Hasegawa - “Gomenne”
56) rowbai - “sign”
57) Homecomings - “angel near you”
58) mekakushe x Yuka Nagase - “Samishii Wakusei”
59) SIRUP ft. SUMIN & A.G.O. - “Roller Coaster”
60) omeme tenten - “Instant Joke”
61) Wednesday Campanella - “TAMAMANO-MAE”
62) nervous light of sunday - “Kamioroshi”
63) Hakushi Hasegawa - “Departed”
64) HIMEHINA - “Love Pie Dancehall”
65) sidenerds - “kirakira”
66) Top Secret Man - “NEU”
67) 4s4ki x rinahamu - “Ganbariya Dakara Aishite”
68) Koresawa - “Motokanojo No Minasamae”
69) Perfume - “IMA IMA IMA”
70) Kaoruko x Stones Taro - “Utakata”
71) valknee ft. KAMIYA - “OG (Remix)”
72) softboiledegg - “SHIBUYA!”
73) Maaya Sakamoto - “nina”
74) adieu - “awabuki”
75) lazydoll ft. qquq - “euthanize”
76) envy - “Whiteout”
77) TOFUBEATS - “I CAN FEEL IT”
78) postmodernhippie & Miketa Hana - “You Ga Shitataru Namimae”
79) Tomoyo Harada - “Cattleya”
80) Le Makeup - “Yokan”
81) JUBEE - “PICK UP THE PIECES (Mass Infection Mix)”
82) pppppfffffuuuuuiiiii - “Morphin’”
83) ELAIZA - “FREAK”
84) Yui Ogura - “Hanauranaisuruno”
85) Gusukumuzu - “Yume No Hajimari”
86) Stones Taro - “Deepest Downtown”
87) uku kasai ft. tofubeats - “Seizu”
88) Soccer. - “IV”
89) 7 ft. LANA & Elle Teresa - “Boss Bitch (Remix)”
90) Creepy Nuts - “Nidone”
91) GANMI ft. Aile the Shota & eill - “AGE”
92) XAMIYA - “HOTARU”
93) Downt -”Whale”
94) Skirt ft. adieu - “Nami No Nai Natsu”
95) Divermy - “Dive Out”
96) muque - “feelin’”
97) Kazumichi Komatsu ft. Le Makeup & Dove - “Skin”
98) Endon - “Hit Me”
99) TERMINATION - “Infestation”
100) Yuri - “Heart 111”
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Wow, this is so exciting! It must have been so much work, thanks so much for putting it all together. Can't wait to listen.
the level of table of contents seems to be messed up