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While the BTS members are focusing more time on their solo careers, the pop icons are keeping their promise to deliver special group projects in the meantime.
Korean animated film Bastions announced on Friday, April 14, that BTS sings the theme song to its upcoming 3D superhero movie. According to a Korean media report shared by BIGHIT MUSIC, the single features BTS as a full group. Other reports shared the track was recorded before Jin enlisted in his mandatory South Korean military service last December.
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Bastions also shared a 30-second preview of the track alongside clips from the flick described as a “K-pop action hero 3D animation” to tell a story of superheroes fighting environmental-pollution villains. Jung Kook and Jimin‘s unmistakable vocals were featured prominently in the clip of the bouncy K-pop song that sounds like it should fit nicely alongside bright BTS hits like “Boys With Luv” or “Butter.”
The Bastions soundtrack will be a star-studded K-pop affair with songs also by BTS’ HYBE label mates LE SSERAFIM, chart-topping female troupe Brave Girls, American Song Contest winner AleXa, soul-pop songbird Heize, rising K-R&B star P.Cassady and more.
The official Bastions websites shares the song’s release is “coming soon,” pointing to a May 12 release date, with the movie premiering on the public Korean TV channel SBS on May 14 at 7:30 a.m. local time. Bastions has shared plans to broadcast the film worldwide as well.
The new Bastions single will be BTS’ first song credited to the full group after last year’s “Bad Decisions” from August with Benny Blanco and Snoop Dogg. The track peaked at No. 10 on the Hot 100 and No. 26 on Pop Radio. Worldwide, the star-studded collab reached No. 6 on the Billboard Global 200 and No. 7 on the Billboard Global Excl. US chart.
J-pop singer-songwriter Fujii Kaze announced his first world tour, entitled “Fujii Kaze and the piano Asia Tour,” set to hit six cities in the region starting in Seoul, South Korea June 24.
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Fujii suddenly went viral in Thailand last July with his song “I’d Rather Die” (“Shinunoga E-Wa”) from his first album HELP EVER HURT NEVER from May 2020. This song has since gone global, spreading from Asian countries to Europe, Latin and North Americas, reaching No. 1 on Spotify’s viral charts in each region.
As the tour title suggests, the 25-year-old artist’s first international trek will feature an intimate set with just the star and a piano. After kicking off in Seoul, the singer will travel to Bangkok, Jakarta, Kuala Lumpur, Taipei, and Hong Kong for a total of eight shows.
The official tour image, teaser and new artist photo also dropped, featuring the young star with a new look. Vinyl editions of Fujii’s first album and sophomore set LOVE ALL SERVE ALL will be released in the touring markets and re–released in Japan in conjunction with the tour.
See the tour dates and teaser below:
June 24 – Seoul, South Korea Kwangwoon University Donghae Culture & Arts CenterJuly 1 & 2 – Bangkok, Thailand KBank Siam Pic-Ganesha TheatreJuly 7 – Jakarta, Indonesia Kasablanka HallJuly 9 – Kuala Lumpur, Malaysia Zepp Kuala LumpurJuly 22 – Taipei, Taiwan Taipei International Convention Center (TICC)July 29 & 30 – Hong Kong Academic Community Hall, HKBU
JO1’s “Tiger” hits No. 1 on this week’s Billboard Japan Hot 100, rocketing from No. 84 on the chart dated April 12.
On the chart tallying the week from April 3 to 9, “Tiger” launched with 416,473 CDs and ruled sales while also dominating radio airplay and downloads. The 11-member boy band’s seventh single also came in at No. 31 for streaming and No. 61 for video views.
Veteran rock band BUMP OF CHICKEN’s new single “SOUVENIR” rises to No. 2 on the Japan Hot 100, powered by sales (58,799 singles sold in its first week, No. 2) and downloads (No. 19). The track is currently at No. 91 for radio and not yet charting in the top 100 for streaming and video, so how these metrics with room for improvement fare in the coming weeks is something to keep an eye on.
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Kenshi Yonezu’s “LADY” has been steadily improving in streaming, rising 23-18 for the metric with 4,222,153 weekly streams. The music video dropped this week and racked up 807,887 views to come in at No. 16 for the metric, so combined with strong radio and downloads, the track moves 7-5 on the Japan Hot 100 this week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
For the full Billboard Japan Hot 100 chart, tallying the week from to Apr. 3 to 9, see here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Colin Hay, the singer, songwriter and frontman of beloved Australian rock group Men At Work, and the late trailblazing tour promoter Colleen Ironside are this year’s recipients of the Ted Albert Award for Outstanding Services to Australian Music.
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The prestigious honor will be presented at the 2023 APRA Music Awards, to be held April 27 at ICC Sydney, on Gadigal land.
Hay will be on hand to receive his circular trophy, recognition for a stellar career that launched in the early ‘80s with Men At Work’s hit debut album Business As Usual, and its standout single “Down Under.”
It was a dream breakthrough, the type few acts have done before or since, as the single and its parent topped simultaneously topped the charts on both sides of the Atlantic, and the group went on to win the Grammy Award for best new artist.
“Who Can It Be Now” logged a single week at No. 1 on the Billboard Hot 100 in 1982, and “Down Under” would climb the summit later that year, holding top spot for four weeks. Today, the latter song has passed more than one billion streams across all platforms, and is treasured as Australia’s unofficial anthem.
“Overkill” and “It’s a Mistake” both hit the top 10 on the Hot 100, “Dr. Heckyll & Mr. Jive” cracked the top 40 (at No. 28). Followup LP Cargo peaked at No. 3 on the Billboard 200. The band called it quits in 1985, but the music lives on. Career record sales top 30 million, according to APRA.
This award is “for outstanding services to Australian Music,” notes Hay in a statement. “I think services is the key word here. It’s important to realise at some point in your life that it is a valuable thing to be of service. To be of some use.”
Hay’s music would be introduced to new generations through Scrubs and Garden State, and he continues to tour, both as a solo artist and as a guitarist in Ringo Starr’s All-Star Band. “Down Under” has been revisited in recent years with a hit drum ‘n’ bass cut by DJ Luude, and by award-winning Yolŋu surf rockers King Stingray.
Speaking to Billboard over Zoom from Sacramento, CA, Hay admits “Down Under” is “very dear to me. When I wrote the song, I had a lot of fear and trepidation about Australia becoming overdeveloped, like you know, Florida or something,” the Scottish-born artist notes, “and on the other side of the coin, there was this beautiful uniqueness and incredible — a kind of awesomeness — of the country which I thought, ‘we don’t want to lose that’. We have to nurture, it’s a precious thing we have.”
Also at the APRAs, Ironside will be posthumously saluted for a career during which she set the groundwork for a pan-Asian touring network and producing scores of tours in the region.
Ironside, who died in 2022, is equally remembered for her force-of-nature personality.
The concerts giant cut her teeth as a booking agent for the Harbour Premier Agency in Sydney, Australia. She went out on her own, establishing and running APA Booking Agency, which booked INXS, Ratcat, James Reyne, Jenny Morris, Wendy Matthews and Def FX for Australia, New Zealand and Asia.
In 1994, Frontier Touring recruited Ironside as head of its Asia division, where she managed tours by Pearl Jam, R.E.M., Tom Jones and others. In 1999, she established Live Limited and toured the Rolling Stones, Elton John, David Bowie, Sting and other titans of rock and pop music.
Later, in 2005, she began a five-year stint with Live Nation as senior VP of bookings in Pan-Asia, before reviving Live Limited, through which she promoted Janet Jackson in Hong Kong, Bruno Mars in Malaysia and Bob Dylan in Hong Kong and Vietnam.
“Colleen championed Australian songwriters and artists and created live music pathways into Asia with a business acumen that was years ahead of her peers,” comments Dean Ormston, CEO, APRA AMCOS.
And Hay “is a songwriter of the highest level and with the biggest heart, whose songs continue to connect and hit No. 1 on the charts. We look forward to honoring them with the Ted Albert Award at this year’s APRA Music Awards”.
The Ted Albert Award is one of the Australian music industry’s highest accolades, and is decided by the APRA board of writer and publisher directors.
Previous recipients include Paul Kelly, the late Mushroom Group founder Michael Gudinski, Slim Dusty, The Seekers and last year’s recipient The Wiggles.
In other APRA Music Awards news, the most performed international work has been awarded to global smash “As It Was” by Harry Styles, with co-writers Thomas Hull and Tyler Johnson). Universal Music Publishing and Concord Music Publishing are publishers.
As previously reported, Grammy Award winners Flume and Rufus Du Sol are among the artists and songwriters scoring multiple nominations for this year’s ceremony.
Established in 1982, the Australasian Performing Right Association’s annual songwriters’ ceremony is one of the Australian music industry’s favorite events, a worthy counterpart to Britain’s Ivor Novello Awards.
The special moments in the APRAs program includes the performance of those song of the year nominees, often completely reimagined by another star from Australia’s music scene.
For more information visit the APRA website.
Just maybe, a miracle can happen twice. That’s what Calvin Harris and Ellie Goulding will be hoping, as “Miracle” (via Columbia) leads the U.K. chart race for what would be a second week at No. 1.
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The throwback rave tune last Friday (April 7) climbed to the summit for the first time, a feat that saw Harris pass Elton John and Eminem on the list of artists with the most U.K. leaders (11), taking eighth place.
Goulding, meanwhile, equals Rita Ora and Geri Halliwell’s four No. 1s by a British female solo artist, and stands to snag a relatively rare chart double, should her new LP Higher Than Heaven debut atop the albums chart.
“Miracle” holds at No. 1 on the Official Chart Update, ahead of “People” (5k) by Afrobeats star Libianca, which is set to rise 4-2, for what would be its peak position. Ed Sheeran’s former leader “Eyes Closed” (Atlantic) is on track to complete the podium, holding at No. 3.
Based on midweek sales and streaming data published by the Official Charts Company, Drake is on course for the highest new entry with “Search & Rescue” (OVO/Republic Records). It’s new at No. 7 on the chart blast. If “Search & Rescue” holds its spot, the Canadian hip-hop star would earn a 38th U.K. top 10 single.
Also set for a top 40 splash is David Guetta, Anne-Marie and Coi Leray’s “Baby Don’t Hurt” (Parlophone). The EDM cut, a reimagining of Haddaway’s 1993 number “What Is Love,” is new at No. 25 on the chart blast.
And finally, U.S. country star Morgan Wallen is eyeing his first ever U.K. top 40 single with “Last Night” (EMI). The track, lifting from Wallen’s Billboard 200 chart champion One Thing At a Time, is on track for a No. 40 bow.
All will be revealed when the Official U.K. Singles Chart is published late Friday (April 14).
Tencent Music Entertainment Group, the leading online music and audio entertainment platform in China, announced that its QQ Music has launched the global original music competition THE ONE, and global music media brand Billboard China will be the exclusive media partner for this competition.
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The competition has invited talented singers, songwriters and musicians around the world including TIA RAY, Lenka and Greyson Chance to act as THE ONE ambassadors for the competition, together auditioning new original celebrities. THE ONE aims to continue to help talented Chinese musicians and high-quality original songs to go abroad and convey the voice of China to the world.
Based on this cooperation, TME will integrate its leading technology, profound industrial and user insights, comprehensive service systems in the Chinese music industry with global resources, influence and international high standards to provide talented musicians with a full range of services from the first demo recordings to the release of songs, as well as global promotion and customized performances, which will support Chinese stars on the world stage in all aspects.
THE ONE competition will be segmented into three major competition units — “Musical Work,” “Fresh Face” and “Label,” for songwriters, emerging musicians and quality labels, respectively — to provide a fair stage for competition and communication among different types of players with different audition mechanisms. Among them, the “Musical Work” unit will gather works from all over the world through TME’s Qimingxing Music Assistant, while at the same time invite famous Chinese original musicians such as Bird Zhang, L.T. and Ma SiWei, Mikey Jiao and Chen Zhuoxuan to participate. The “Fresh Face” unit will be strategically combined with Tencent Musician Platform’s New Forces project to identify excellent artists in the new generation, while the “Label” unit will collect original music works from high-quality labels globally, introducing independent labels valuing the quality of music creation and the diversity of music styles into the world’s spotlight, and bringing more “Chinese treasures” to global music fans.
The competition will eventually select and produce a conceptual music collection of THE ONE. The collection will be distributed globally through TME Music Cloud, including but not limited to overseas channels such as Spotify, Apple Music, YouTube and others. The collection will also receive massive promotional traffic support and core resources from TME’s various platforms including QQ Music, Kugou Music, Kuwo Music and Tencent Musician Platform, as well as being featured on the Billboard China master song list Golden Ears. In addition, honorees will also have the opportunity to participate in a special collaborative performance with Billboard Live in Shanghai, representing China’s high-quality original force on the global stage to bring exciting performances to music fans around the world.
With this partnership, TME will continue to strengthen its in-depth collaboration with more music industry partners, bringing more quality original works and exciting performances to music lovers around the world. TME will continue the exploration of value patterns for the construction of Chinese music’s global influence, supporting and accompanying the birth and bloom of high-quality original Chinese music.
This year, SID celebrated their 20th anniversary.
The four-piece band, made up of Mao (vocals), Shinji (guitar), Aki (bass) and Yuuya (drums), released their first album, Renai, in 2004. In 2008, they made their major-label debut on Sony Music with the opening theme song to the TV anime Kuroshitsuji (Black Butler). Since then, they have regularly released albums and performed solo dome and stadium shows, establishing a solid career. However, due to health issues affecting Mao, the band stopped performing live in January 2022. A year later, this January, the band returned to the stage with an exclusive live show for members of their official fan club, a momentous start to their milestone 20th year.
“It was a really moving show. I think I’ll remember it for the rest of my life, because it allowed me to see our fans again after the pandemic and after struggling with my own health problems,” said Mao. “It felt like I’d faced two tremendous challenges at the same time. That’s why I didn’t want to look back, but instead to make sure that 10 or 20 years from now, if I looked back, I’d feel that I’d made the best use of those experiences. I hope that our fans also understood that during that time when we were apart, we’d been working hard and looking to the future.” Shinji added, “Despite how much time had passed, the groove we got into as a band was really fun. The way the drums and bass intertwined was better than ever, and then the guitar, which played over the top, had tremendous freedom, so playing was a blast. In songs like ‘Toge To Neko,’ the rhythm section really gets into a groove, so the guitar can do whatever it wants. It felt like I really went into my own world.”
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Some of the members of the band have also been actively pursuing solo projects at the same time. Aki, SID’s songwriter and bassist, also performs vocals and writes the lyrics for his solo project. “During the time when SID wasn’t performing live, each of us was going in our own individual directions, but we were all continuing our music activities, and we all came back to where we belonged. I can’t pull the wool over our fans’ eyes, or their ears, so even during that gap, I polished my own skills because I knew that when I came back to SID, I’d need to perform better than ever. Otherwise I’d be putting the cart before the horse. I hope our fans were able to see the fruits of those efforts in SID’s January solo show.”
In April, SID will begin touring in support of their latest album, the long-awaited Umibe. Yuuya talked about his hopes for the tour. “We released Umibe a year ago. It’s unusual to go on tour for an album that fans have had so much time to really listen to. That’s why at our shows, we’ll need to go above and beyond simply playing the music. What’s more, it’s looking like the audience won’t be required to stay quiet during the show, so it’ll be a true return to form. Maybe starting the Umibe tour in April of this year was the best possible outcome all along. What we once took for granted has become a rarity, so that newfound freedom will make the show even more moving and powerful.”
In commemoration of SID’s 20th anniversary, the band has released the SID 20th Anniversary BOX, a 15 CD complete boxed compilation set that covers the band’s entire history. In addition to all of SID’s albums, from Renai to Umibe, it also includes the Side A complete collection CD of title track singles that don’t appear on any of their albums and the Side B complete collection CD of B-sides they have released since their major label debut. The boxed set also contains a Blu-ray disc with 40 music videos, a booklet with the lyrics to all of their songs, and more. The SID 20th Anniversary BOX lives up to its name, commemorating the band’s efforts through the years.
Mao talked about how the box set came to be. “What led to the decision is that we and the staff were talking about how it would be great if there were a box set that would let our fans look back and remember all of the different things we’ve released. CDs no longer sell well, so our team thought really hard about what kind of value we could add to CDs. I think we’ve come up with something pretty wonderful.”
So, looking back on SID’s 20 year history, what do the members see as having been the band’s turning points? “One of the things that immediately leaps to mind is our first album, Renai,” said Shinji. “We had so little time, we were rethinking melodies while on the train. Thinking back on it, I’m impressed by what we were able to achieve. It had a really homemade feel to it, but that’s what made it so priceless. You can really feel the blood, sweat, and tears we poured into it. Every time we make an album, we pack it with what we want to do as a band, but that comes across particularly strongly with our first album.”
Yuuya looked back on the band’s 15th anniversary, five years ago. “On our [My Favorite Place] tour, which we began right before our major label debut, we visited music clubs around the country, which is where we began as a band. We created a mini-album named My Favorite Place to share the message that these music clubs would always be special to us. We took a hiatus in 2016, too, but that just brought us even closer together when we released our fifth album, NOMAD, in 2017. The year after that was our 15th anniversary, and we really wanted to express our gratitude to our fans.”
Aki called SID’s newest album, Umibe, a turning point for the band. “We’ve been making music for 20 years, and I feel like we’ve gone beyond just brushing up our sound to also reflecting a certain humanity in our songs. We’re not so much striving to make the ‘perfect’ song, but instead to make songs that convey who we are. We don’t play along with a click track, but instead with each other, creating a live sound that could only come from us. It’s a more human, warmer sound.” It’s as if SID itself has become a living, breathing thing. “For example, in songwriting, sound arrangement is, to some extent, affected by modern trends. That’s not bad in and of itself. However, we’re now able to create sound arrangements that reflect who we are — that share the essence of SID. I’m looking forward to seeing what our future albums will be like.”
When SID first started, it was praised for its sound style, which infused rock with the essence of Japanese kayokyoku, the progenitor to modern J-pop. However, the band eventually stopped using this approach and began exploring a greater diversity of sounds. I asked them if they ever felt worried about sealing off their own individuality or strengths. “Not really. From the start, SID’s been a band in which each member brings their own musical tastes to the table, so we’ve created what came naturally based on how we felt at the time.” However, Mao also points out that they weren’t afraid of stagnating, either. “For example, up until about our second album, Hoshi No Miyako, we were really trying to become popular as a four-piece band, playing in clubs, but after we released our third album, play, we began a tour of larger performance halls. Our staff created sets and staging appropriate for large venues, and we realized just how much support our staff was providing. Them, and our audience. A good live performance isn’t something that you can create through your own efforts alone. It’s something that happens when you’ve also got great staff and great fans. I feel like this is something we were able to experience because of how we changed as a band, so I’m glad we’ve kept evolving.”
Having celebrated its 20th anniversary, SID is now beginning the next stage of its history. “I think we’ll continue to keep up with trends while at the same time pursuing our own originality,” said Yuuya. “It’s hard to put into simple words, but we’re in an age where we get direct feedback from our fans through social media, so I hope we can align the ‘SID-like’ elements our fans want with our own sense of what SID is all about to create a single, unified whole.” Mao continued, “The songs we wrote when we were young have a certain quality that can only come from youth, but on the flip side, I’ve been singing for twenty years, so there are songs that can only be performed by the me of today, songs that my younger self wouldn’t have been able to pull off. The same is true for lyrics. I want to be able to write deeper, more profound lyrics. Until now, I’ve drawn on my own stockpile of ideas to write lyrics that are packed with a sense of curiosity, but in the future I want to become a lyricist who can write more naturally, crafting lyrics that share my way of thinking and living. That’s why I’m always exposing myself to different types of music, film, and books, travelling, and enriching myself as a human being.” However, he continued, “I hope we’ll keep playing together for years to come, so I hope all four of us continue to enjoy good health and keep on having fun.”
This interview by Takuto Ueda first appeared on Billboard Japan.
By: Billboard Japan / Photo: Courtesy Photo
https://www.billboard-japan.com/special/detail/3900
Boygenius is the U.K.’s chart champion, as The Record (via Interscope) blasts to No. 1.
The U.S. indie rock “supergroup,” comprising Julien Baker, Phoebe Bridgers and Lucy Dacus, debuts at the summit of the Official U.K. Albums Chart, published April 7, leading an all-new top 3.
The Record, the best-seller on vinyl during the chart cycle, is Dacus and Baker’s first appearances in the top 40 entries, and it eclipse Bridgers’ solo best chart performance, a No. 6 peak for her sophomore solo LP Punisher from 2020.
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Coming at No. 2 on the latest all-genres albums survey is Melanie Martinez‘s Portals (Atlantic). That’s a career-best for the U.S. alternative-pop artist, following her 2015 debut Cry Baby (No. 32 peak) and 2019’s K-12 (No. 8).
Australian indie-rock trio DMA’S has been dreaming of a high chart bow with How Many Dreams? (via I Oh You/Mushroom), which had tracked for a No. 3 berth on the midweek chart. Dreams completes the chart race in third position, a career-best for the Sydney band — Tommy O’Dell, Matt Mason and Johnny Took — following the No. 4 peak for its predecessor, 2020’s The Glow.
Following the long-overdue release of De La Soul’s catalog on DSPs, the hip-hop pioneers’ 1989 debut 3 Feet High and Rising (Chrysalis) hits a new peak, some 34 years after its original release. 3 Feet High and Rising rises to No. 9, its first appearance in the top 10, thanks to a reissue campaign on vinyl, CD and cassette. Last month, as it hit streaming platforms, the set vaulted to a then-best of No. 12.
Closing out the top 10 is Davido, with his fourth studio set Timeless (Ceremony of Roses). It’s the Nigerian singer-songwriter’s first top 10 appearance on the U.K. chart.
Finally, Odd Future rapper, singer and songwriter Tyler, the Creator returns to the top 20 with his 2021 effort Call Me If You Get Lost (Columbia), which benefits from the deluxe reissue treatment. Call Me rings in at No. 18.
A dance music miracle has seized the U.K. singles chart.
Four weeks into its chart journey, Calvin Harris and Ellie Goulding’s throwback rave tune “Miracle (via Colombia) climbs 3-1, for its first stint at the summit.
With its unlikely climb, Harris now boasts an 11th U.K. No. 1 and Goulding a fourth. Also, it’s their first as a duo, and third top 10 after 2012’s “Need Your Love” (No. 4 peak) and 2014’s “Outside” (No. 6). “Miracle” led at the midweek stage and completes the chart race in top spot.
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The last time Harris checked in at the chart penthouse was 2018 with “Promises,” featuring Sam Smith, while Goulding last scaled the chart in December 2019 with the English singer’s cover of Joni Mitchell’s “River.”
According to the Official Charts Company, Harris, the Scottish EDM DJ and producer, now moves into eighth place in the all-time list of artists with No. 1s, pulling away from Eminem and Elton John (with 10 each).
Goulding, meanwhile, draws level with Spice Girl Geri Halliwell and Rita Ora among British female solo artist leaders. Just two artists are above her on the list, the OCC reports: Jess Glynne (seven No. 1s) and former Girls Aloud singer Cheryl (five).
The Official U.K. Singles Chart podium is completed by two former leaders, Miley Cyrus’s “Flowers” (Columbia), unchanged at No. 2; and Ed Sheeran’s “Eyes Closed” (Atlantic), down 3-1.
Further down the list, rising pop star Mimi Webb’s “Red Flags” (Epic) lifts 13-12, its equal peak position. “Red Flags” is the top trending song in the U.K. right now, the OCC reports.
The highest new entry on the latest chart, published April 7, belongs to BlackPink singer Jisoo, with her debut solo single “Flower” (Interscope). It’s new at No. 38. With that debut, Jisoo becomes the first member of the K-pop girl group — which also includes Rosé, Lisa and Jennie — to bag a solo U.K. top 40 hit.
Finally, former Odd Future rapper Tyler, The Creator bags his fourth top 40 appearance, as “Dogtooth” (Columbia) sneaks inside the top tier. It’s new at No. 39, making its appearance following the “Estate Sale” deluxe reissue of Call Me If You Get Lost.
TREASURE’s “Here I Stand” takes the No. 1 spot on the latest Billboard Japan Hot 100, dated April 5, tallying the week from March 27 to April 2.
The theme of the movie Black Clover: Sword of the Wizard King came in at No. 2 for sales with 313,370 copies sold in its first week, while also hitting No. 17 for streaming with 4,484,777 weekly streams, No. 2 for radio, and No. 73 for downloads. Points from the first three metrics fueled the first single by the 10-member K-pop boy band to the top of the Japan Hot 100 this week, holding Nogizaka46’s new single at bay.
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Nogizaka46’s “Hito wa yume wo nido miru” (“People Dream Twice”) sold 663,277 copies to rule sales this week, but couldn’t support this lead with other metrics: No. 12 for downloads, No. 26 for radio, and No. 78 for video views. The girl group’s 32rd single rises 56-2 on the Japan Hot 100.
Figure-wise, Nogizaka46’s previous single “Koko niwa nai mono” launched with 830,384 copies and the one before that sold 720,302 copies in its first week, showing a slight downward trend.
Yuuri’s new album Ni (“Two”) tops the Billboard Japan Hot Albums chart this week after coming in at No. 2 for sales and No. 1 for downloads. This has boosted some of his songs up the chart, namely “Billimillion,” which rises 15-8 to break into the top 10. The track broke out in streaming in particular, rising 12-4 for the metric with 5,958,767 streams, increasing by 22.8 percent from the previous week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Mar. 27 to Apr. 2, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.