My Personal Best Japanese Songs: January–February 2025
It’s hard to believe that two months of 2025 have already flown by. In this article, I’ll be sharing the Japanese songs released in January and February 2025 that personally resonated deeply with me. This list isn’t based on charts or sales; rather, it’s curated purely from my personal taste and sensibilities.
At the end of this article, you’ll also find a Spotify playlist featuring even more great songs I couldn’t include here. I’d be delighted if you checked that out as well.
HANA – “Drop”
“No No Girls” is an innovative audition program organized by B-RAVE, an entertainment agency under BMSG, which breaks traditional norms by not setting limits based on height, weight, or age. Popularly known as “Nonoga,” the audition was produced by Chanmina, with BMSG CEO SKY-HI serving as executive producer.
The seven-member girl group HANA emerged victorious from this audition. Scheduled to officially debut in 2025, their debut track “Drop” already feels like a pivotal piece signaling their undeniable potential to shape the future of Japan’s music scene.
Japanese girl groups seem to be entering an exciting new phase. Groups such as XG have significantly raised the bar for vocals, rap, and dance performance, gaining increasing international recognition. Amidst this movement, HANA is certainly an act to keep an eye on.
The Recording Academy, known for organizing the Grammy Awards, has even predicted that “2025 will be the year J-Pop rises.”
5 Music Trends You May See In 2025: The Rise Of J-Pop, Music Video Craze & More
While some might debate the specifics of such predictions, it’s undeniable that Japanese artists are broadening their horizons on the international stage. Having only heard one song from HANA so far, I can already sense their immense potential. I’m eager to see how they evolve and possibly lead Japan’s music scene into a new era.
Kenshi Yonezu – “Plazma”
Kenshi Yonezu’s track “Azalea,” released in November 2024, has quickly become one of my recent favorites. Previously, I highlighted the intriguing sound of a flickering fluorescent light used at the beginning of that track, and a similar effect also appears in the music video for his new song, “Plazma.” Given the close connection between plasma and fluorescent lighting, this artistic choice makes sense, though it’s hard to believe the recurrence of this element in his two latest music videos is merely coincidental.
Additionally, “Plazma” has been widely noted for evoking the sound of Yonezu’s past identity as Vocaloid producer “Hachi.” Interestingly, in 2024, a new music video was also released for “Donut Hole,” one of his classic tracks from the Hachi era. Following soon after “Plazma,” his track “BOW AND ARROW” continues this intriguing trend.
As Vocaloid music experiences renewed appreciation, opinions might vary on Kenshi Yonezu’s evolving musical style. Personally, I’m excited to see how this shift in Yonezu’s sound will influence Japan’s music industry moving forward.
Kenshi Yonezu – “BOW AND ARROW”
After releasing an album in 2024, Kenshi Yonezu continued putting out singles, later reflecting in interviews that “2024 was the busiest year of my life.”
米津玄師「Plazma」「BOW AND ARROW」インタビュー｜あの頃の気持ちで、軽やかな自分で 今解き放つ2つのアニメ主題歌 – 音楽ナタリー 特集・インタビュー (Interview with Kenshi Yonezu on “Plazma” and “BOW AND ARROW”: Releasing Two Anime Theme Songs with a Lighthearted Feeling Reminiscent of the Past – Music Natalie Feature Interview)
His momentum remains strong in 2025. He has already released two new songs in January, completed a domestic tour attracting 350,000 fans in February, and plans to embark on his first global tour, including performances in Europe and the U.S., starting in March.
“BOW AND ARROW” was specifically written as the opening theme for the anime “Medalist,” but what stands out is how it came about. Rather than being commissioned, Yonezu himself, a fan of the original manga, learned of the anime adaptation and proactively offered to create the theme song. This surprising detail must have been unexpected for the anime producers as well.
Like “Plazma,” Yonezu handled everything himself, including the arrangement, showcasing his distinctive musical identity. Given the recent resurgence of Vocaloid-style music, I’ve often wondered what it might be like if Yonezu returned to the style of his Vocaloid producer days as Hachi.
Whether intentionally or not, this vision seems to have become reality, particularly evident in the series of events from the new music video release of “Donut Hole” to “BOW AND ARROW.” These developments feel like the beginning of an exciting new chapter in his career.
Uniolla – “Soredemo”
Uniolla’s latest song, “Soredemo,” released digitally on January 15, 2025, is an eagerly awaited track from the project led by KUMI, the vocalist of LOVE PSYCHEDELICO. Motonori Fukanuma, who wrote, composed, and arranged the song, described it as “like a handrail you instinctively reach out for when you’re feeling slightly unsteady,” emphasizing his belief in the enduring power of music and the band format.
The lyrics capture a poignant feeling—struggling to regain a strength that once felt natural, yet becoming even more uncertain in the process. Personally, I found comfort in the song’s perspective, which gently affirms the past, present, and future alike.
Even when we can’t undo events that can’t be changed, the gentle reassurance of “it’s okay anyway,” delivered almost with a smile, resonates deeply. While the past remains unalterable, how we embrace the present that follows is entirely up to us. The song’s refusal to force positivity provides a subtle, comforting push forward.
Natsuko Nisshoku – “Kaze, Hana, Noise, Machi”
Natsuko Nisshoku’s new song, “Kaze, Hana, Noise, Machi,” is the opening theme for the drama series Konna Tokoro de Uragiri Meshi: Arashi wo Yobu Shichinin no Yakuin, which began airing on January 15, 2025.
The first thing that drew me to this song was its vibrant energy, which immediately makes you want to step outside. The lengthy 31-second intro gradually builds momentum with lively drum rhythms, guitar, bass, and keys, creating a feeling of excitement as if you’re about to take off running. The single mention of “spring” in the lyrics dramatically expands the scenery and evokes a strange mix of anticipation and slight unease for me, someone who experiences a bit of spring anxiety. Spring is beautiful, after all.
The song’s perspective—depicting the city as a living organism and highlighting the steady passage of time within it—encourages us to view urban spaces organically. The entire track maintains a forward-looking momentum, making it perfect for walks or drives.
SUSU – “SPARK!”
SUSU is a musical project by Ikkyu Nakajima, known as the vocalist for bands like tricot and Genie High, and guitarist Kanji Yamamoto, formerly of The Cigavettes and sunsite. Continuing their collaboration from the previous release, this track also features former NUMBER GIRL members Kentaro Nakao on bass and Ahito Inazawa on drums, who both appear in the simultaneously released music video.
The MV showcases a studio performance and connects directly to their previous song “Togirenaide,” so be sure to check that one out as well if you’re interested.
“SPARK!” is characterized by its driving rhythm, distorted guitar sounds, and nostalgic synthesizers—ideal for blasting through headphones at full volume. The emotional intensity is palpable right from the opening notes. Underlying the track is a subtle questioning of the status quo, yet simultaneously, there’s an unmistakable forward-looking energy that leaves a refreshing feeling upon listening. Ikkyu Nakajima’s powerful yet clear vocals cut through the roaring guitars like a brisk wind.
This song seems to call us to remember and hold onto the moment of “spark” right here, right now—not in the past, not in the future, but precisely in this present instant.
Sakanaction – “Kaiju”
Sakanaction’s new song, “Kaiju,” their first digital single in roughly three years, serves as the opening theme for the anime series “Orb: On the Movements of the Earth” currently airing on NHK General TV. This marks the band’s first-ever TV anime theme song, and vocalist Ichiro Yamaguchi’s powerful lyrics are widely praised for resonating deeply with the philosophical themes of the series. By the way, the original “Orb: On the Movements of the Earth” manga was fantastic, but isn’t the anime adaptation incredibly compelling too?
The music video creatively blends scenes from the anime, synchronizing memorable character moments with the song’s progression, a feature that has become a hot topic among fans. Upon its digital release, “Kaiju” quickly rose to the top of various music charts, reflecting fans’ high anticipation for the band’s long-awaited new release. On Spotify’s Japan Daily Chart, it reached number one on its release day—a remarkable achievement not seen for about a year and a half, since King Gnu’s “SPECIALZ.” Additionally, as the song was produced following Yamaguchi’s recovery from illness, it symbolizes the band’s significant “relaunch.”
As a fan of both the original manga and the anime, I felt this track authentically captures the essence of “Orb: On the Movements of the Earth” while also possessing a universality that transcends typical anime songs. Truth and knowledge are often passed down at great personal cost, yet the song emphasizes the persistent will to reach toward the future. I’m deeply moved by how the lyrics portray both the lost souls, scattered like falling petals, and the hopeful emergence of new possibilities. This song captures themes far beyond the boundaries of a single story.
Comment