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BABYMETAL is now back to being a trio since April after MOMOMETAL officially joined longtime members SU-METAL and MOAMETAL. Japan’s metal sensation recently dropped a new song called “METALI!!” featuring Tom Morello of Rage Against the Machine. The latest single celebrates the new lineup with a hyped-up, chaotic track graced with the inimitable presence of the legendary RATM guitarist’s performance.
Since May, the band has toured the U.K. and Europe with Swedish rockers Sabaton, headlined shows in Asia and Australia, and is set to travel to North America for a tour spanning from the end of this month to October. BABYMETAL has also been making headlines for its featured appearance on Lil Uzi Vert’s song “The End” from his new album Pink Tape released in June. In this brand-new interview, the three members of BABYMETAL chatted with Billboard Japan about their new track, tours, collaborations and more.
BABYMETAL just dropped “METALI!! (feat. Tom Morello)” as its first release since becoming a trio again. Tell us what you thought when it was completed.
SU-METAL: I think we’ve created a fun, yet solidly mature, very BABYMETAL number that’s bound to make people go, “What the heck?” I’m sure people will be hyped to hear it at our shows, so right now I’m just looking forward to performing it and seeing how everyone reacts to it.
MOAMETAL: I’m really looking forward to performing this song live. It’s been a while since we’ve had an upbeat track like this, so I’m glad this is our first song under our new lineup. Also, Tom Morello played on this song for us so it’ll always be close to our hearts.
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MOMOMETAL, this is your first song as BABYMETAL. How do you feel about it?
MOMOMETAL: I thought this song was awesome from the moment I heard the intro. I’m glad my first song (as BABYMETAL) is one that makes me excited just by hearing it. The choreography also has a lot of interesting moves, so I’m looking forward to performing it.
Tom Morello’s guitar also has a strong presence in this song. What was your impression of his guitar sound?
SU-METAL: I think it really matches the chaotic vibe that “METALI!!” has. BABYMETAL is a group that has surprised people in a “What the heck?” kind of way, and this song is like the good parts of “PA PA YA!!” and “Megitsune” combined. So I’m sure our fans will find it familiar in a way, but the vibe changes drastically in the second half and it’s like the sonic equivalent of a bucket of fluorescent colors being splashed all over the place. We thought we’d updated the BABYMETAL sound in our own way, but the addition of Tom Morello’s guitar draws out a new “What the heck?” element from it. He really is such a legend.
MOAMETAL: I’ve listened to Rage Against the Machine’s albums and always thought his guitar was so cool. I’m really glad to have someone like that involved in our music, and it’s exciting to think how this collaborative circle could keep expanding like this.
You were in charge of the spoken part of the song, MOMOMETAL. What was that like?
MOMOMETAL: I got into character and just ran with it. I focused on the intonation and spent a lot of time on the recording to make it interesting and to enhance the image of the song.
Since May, you’ve toured the U.K. and Europe with Sabaton, then headlined shows in Asia and Australia on a tour that took you to many countries. The itinerary alone must have been grueling, but what was the experience like?
MOAMETAL: This is the hardest tour schedule we’ve had in 13 years of our career. We’ve been so busy since we became a trio again and haven’t had time to be idle, but I’m happy we don’t have to stop and happy there are people out there who want to see us.
SU-METAL: Touring is a lot of work to be honest, but I always wanted to sing (while on hiatus from performing live), so it’s so much fun to be able to sing every day. I’ve been touring with MOAMETAL like we’re family, and MOMOMETAL has been able to fit right in. I think the three of us are great together, and hope we can continue to work like this for a long time to come.
MOMOMETAL: It was a period when I discovered the things I needed to improve on because there were so many shows. It was a tough tour, but the experience of getting through it helped build up my confidence.
Tell us about your tours. First, how was the U.K. and Europe tour with Sabaton?
SU-METAL: I was really happy to be able to see Sabaton live every day. I think their music is meant to be seen live, in that it’s a kind of composite art. That aspect is similar to BABYMETAL, so I learned a lot from them and it was really fun touring with them.
What about Asia and Australia? What stood out from those shows?
SU-METAL: Indonesia was especially amazing. The crowd was so enthusiastic, it was hard to believe it was our first headlining show there. Everyone sang all my parts. They were so loud I was sure they’d go hoarse and I could tell from their intense gazes that they didn’t want to miss a single moment of the show. They were trying to enjoy the space with all of their senses. They gave us so much energy, and even the members of our crew, who were a bit tired after the tour with Sabaton, were invigorated afterwards. It was amazing.
MOAMETAL: I was surprised that those big venues in Australia were packed. We hadn’t been able to visit before and the fact that there were so many people waiting for us to come made me think we’ll be able to meet even more people in other parts of the world. I definitely want to tour Asia and Australia again.
MOMOMETAL: I had a lot of fun performing with F.HERO in Thailand. It was so cool seeing him rap live. Everyone had such a great time and the song was over too soon. It was a memorable moment.
From the end of this month to October, you’ll be touring North America for THE BABYKLOK TOUR 2023 with DETHKLOK, and have a few festival appearances lined up. What are your thoughts on these upcoming shows?
SU-METAL: This is the year we go and meet our fans around the world as the new BABYMETAL. We’re so happy to be able to perform in larger venues than the ones in our previous North American tour, and look forward to seeing everyone there. Also, the timing coincides with our collaboration with Lil Uzi Vert and it feels like that expanded our fanbase again. I hope this tour will be a great opportunity for people who see us for the first time to get to know what BABYMETAL is all about.
That collaboration with Lil Uzi Vert came as a surprise. How did you feel when you were first asked to do it?
SU-METAL: I couldn’t believe it and was like, “This can’t be true.” Apparently he really likes BABYMETAL and told us he wanted to introduce his favorite music so we could do whatever we wanted. It was a new challenge for us and we went wild with it.
MOAMETAL: He also collaborated with Bring Me the Horizon on that album, and I thought, “Wow, he really does like metal.” I want to hang out with him.
You also collaborated with Bring Me the Horizon on “Kingslayer feat. BABYMETAL” from their 2020 project Post Human: Survival Horror. To reiterate, you’ve collaborated with the likes of Tom Morello, Lil Uzi Vert, and Bring Me the Horizon, meaning you’re linked to such top artists from around the world in various genres. It’s a fascinating situation from an objective standpoint, but what do you make of it all?
MOAMETAL: Maybe because we’ve collaborated with artists from various genres, more people outside the metal world have heard of us now. I had the opportunity to see Backstreet Boys live overseas and they knew about us. Our collaborations have gradually been giving us confidence that BABYMETAL is helping to connect metal and other genres, if only just a little.
SU-METAL: Up until recently, BABYMETAL aimed for recognition from metal fans. We respect metal music, but were trying to create a new movement within the genre. Having done that for a decade, it now feels like BABYMETAL is exploring a new genre of music. We want to keep expanding our collaborative ties with various different artists.
It does look like the metal genre has become revitalized lately. A lot of artists are starting to do things that aren’t bound by conventional concepts. BABYMETAL is in sync with this trend. Any thoughts on this phenomenon?
MOAMETAL: It’s true that there’s been a big generational shift and the people who were considered young are now leading the way, and I find that interesting. And I’m also awed by the open-mindedness of the legends who recognize these young artists. The way metal is accepting of various other genres makes me love it even more.
SU-METAL: When we toured Asia and Australia, we noticed that our fans were really young. A lot of them seemed to be enjoying the music more casually. When we started BABYMETAL, we wanted people to enjoy metal music in a more pop, casual way and to be a gateway to the genre, so I hope that our existence has been a bit influential in that respect.
—This interview by Tomonori Shiba first appeared on Billboard Japan
YOASOBI’s “Idol” extends its record-breaking streak at No. 1 on the Billboard Japan Hot 100 on the chart dated Aug. 16, now at 18 consecutive weeks atop the tally.
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Ayase and ikura of YOASOBI are keeping themselves busy performing at a different music festival each weekend this month — after returning from performing at 88rising’s Head in the Clouds in Los Angeles, the pair took the stage at the Rock in Japan Festival on Aug. 13 as the headlining act closing out the five-day event, and are set to headline Summer Sonic on Saturday (Aug. 19) as the last act to hit the Mountain Stage.
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“Idol” continues to rule downloads, streaming, video views and karaoke although it’s on the decline in terms of overall points. The Oshi no Ko opener slips 17-24 for radio but total points add up to around 1.7 times the track at No. 2 on the Japan Hot 100.
Tatsuya Kitani’s “Where Our Blue Is” climbs 4-2 this week after the rising singer-songwriter performed the Jujutsu Kaisen Season 2 opener at Rock in Japan on Aug. 10. The track holds at No. 3 for downloads with 10,149 units and rises 3-2 for streaming with 9,982,812 weekly streams. The song is faring well in all but radio this week: staying at No. 38 for physical sales, rising 8-6 for video, 74-62 for karaoke, falling 27-32 for radio.
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Jung Kook’s “Seven” featuring Latto continues to hold at No. 3. The track falls 14-17 for downloads with 2,940 units, 2-3 for streaming with 9,808,590 streams, 9-16 for radio, and holds at No. 3 for video.
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Two songs debut in the top 10 this week. Kanjani Eight’s “Okami to Suisei” (Wolf and the Comet) bows at No. 4, selling 150,848 copies in its first week after dropping Aug. 9. Meychan’s “Enjoy,” written by Yuzu’s Yujin Kitagawa, launches at No. 6 after hitting No. 4 for streaming with 9,025,257 streams, boosted by an online event and a campaign to win autographs and other prizes.
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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 Aug. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
QUEEN BEE’s “Mephisto,” the ending theme for the smash hit anime 【OSHI NO KO】, has itself become a long-running hit song. The video for “Mephisto” performed by “Avu-chi, the Idol from Hell” on the YouTube channel THE FIRST TAKE reached 4.57 million views in less than a week.
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The heart of QUEEN BEE, vocalist Avu-chan, who is responsible for both the lyrics and the music to “Mephisto,” spoke with Billboard Japan for the first time. In this wide-ranging interview, she discusses 【OSHI NO KO】 and “Mephisto,” performing in a band, and QUEEN BEE’s full-fledged start as global band.
“Mephisto” is the ending theme for the anime 【OSHI NO KO】, and the song has become quite the hit.
Avu-chan: I think the anime introduced a lot of people to “Mephisto,” but even more than that, I think there were people who had heard of QUEEN BEE before, and “Mephisto” reinforced for them what a tremendous band we are. It was wonderful that Aka Akasaka and Mengo Yokoyari, who created the original manga, and the creators of the anime all supported us in handling the ending theme. It’s a strange feeling, like they recognized and validated the approach we take to life.
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The new song has given people an opportunity to see what an amazing band you are.
Avu-chan: Right. Just look at how many people are listening to our music. We’ve lit the flame of QUEEN BEE and kept it burning, and now we’ve been given this opportunity by something even bigger than us. But we’re not going to burn out, and we’re not aiming to fan these flames in new directions, working toward some new goal. We’re not going to allow ourselves to get swept away, we’re just going to quietly keep pushing forward.
Without getting anxious or restless.
Avu-chan: We knew that we could achieve synergy by pairing up with 【OSHI NO KO】. We’re very grateful for that. However, in the end we just want to do what we think is interesting — what we find wonderful. That’s going to be the path we continue to follow in the future. All that said, I’m amazed that “Mephisto,” which is just brutally honest, has been so widely accepted. It’s not just about idols, it’s about every kind of work. It’s about how we stake our lives on our work, how once you start there’s no turning back. It tells these truths in uncouth, unvarnished words. If people are enjoying it by making vocal covers and dance videos, I don’t know what to say.
What are your impressions of 【OSHI NO KO】, which recently aired its final episode?
Avu-chan: I think it’s wonderful how the original creators of the comic have enjoyed the anime adaptation, which has become a social phenomenon. But what 【OSHI NO KO】 is really depicting is a serious message of social reform, set on the stage of the entertainment industry. It’s so ironic that it became a hit overseas and people are like “Japan is so fascinating.” I guess one saving grace, in a way, is that the people who made it are brimming with love, and that our own music is part of it.
The love and passion the creators feel for their work is making the serious message of social reform into a hopeful message.
Avu-chan: Right. There are people who, when they talk about the entertainment industry, are like “Your job is being on stage, so you need to just grin and bear it.” They want to treat the entertainment industry as if it’s an anomaly. 【OSHI NO KO】 is directly challenging that idea, saying “This is a story that relates to everyone.” I think it challenges the viewers. But there are a lot of people who aren’t seeing it as a battle, which may be a reason for its popularity.
“Mephisto” is the name of a demon in German folklore, and appears in Goethe’s drama Faust. I’ve heard that you developed the concept of the song some time ago.
Avu-chan: From the time of the decision for the tie-in, I thought that the theme of “Mephisto” would be a great match for the anime. I was sure the anime would be great, and I was so confident that I cried with joy on being selected to provide the ending theme. I drew the motif from Goethe’s Faust, and I was influenced by authors who richly depicted the doings and passion of people — authors like Go Nagai, who I’ve enjoyed since I was little, and like Yukio Mishima and Shakespeare. I think those sensibilities lie at the heart of “Mephisto.”
So you’re expressing the doings and passion of people through music.
Avu-chan: I feel the same kind of passion in 【OSHI NO KO】 as I feel in the works of those authors, so “Mephisto” was a great fit for it. However, the music drew on that passion more than it drew on any specific information about the anime, so I didn’t think that many people would realize the intent behind it.
If you look at YOASOBI’s “Idol” as broadening the world of the anime, it would seem to me that “Mephisto” deepened it.
Avu-chan: Thank you for saying that. Drawing out context from a work of art — that’s our specialty. YOASOBI and QUEEN BEE have really just blown the lid off this! (laughs) I don’t think if this would’ve happened if our musical styles hadn’t been so different.
I’d like to talk to you for a moment about the band as a whole. You performed two live shows in the U.S. this April. Do you have your eyes set on establishing a full-fledged global presence?
Avu-chan: We hadn’t originally been thinking about that. I love the Japanese language and I’ve always felt it was important to sing in Japanese, so starting all over from the ground up, writing lyrics in English — that’s a decision I’ve struggled with.
Sure, but the situation in the North American market is changing. Song lyrics used to have to be in English to be successful, but now it’s no longer that hard to compete even when singing in your own native language.
Avu-chan: True. When we played in America in spring, I started to think that the passion and strength of Japanese could serve as our passport. We performed in Seattle and Los Angeles, and when we put on the kind of show QUEEN BEE usually does, the venues went wild.
Even though there were a lot of people who didn’t speak Japanese?
Avu-chan: Right. And another thing that people who praised the show all mentioned is that the audience had people of all races. There were senior citizens and little kids, and looking at how much fun everyone had, I thought “QUEEN BEE really needs to go international.” Of course, succeeding in Japan is itself no easy matter. However, I recognize that I myself am a melting pot of races. At the two shows, I got a glimpse of just why I should be performing to overseas audiences.
You want to be someone who stands on stage surrounded by people of every race.
Avu-chan: I just bare my heart for all to see. I think overseas success is still a major challenge, but I hope to stir up some chaos on a global scale.
Is there anything that you’d change in your efforts to go global?
Avu-chan: If I changed anything, people would notice immediately. In our case, if you change yourself in order to curry popularity, then you’re left with nothing. We don’t want to use that kind of marketing approach.
Because that wouldn’t be true to QUEEN BEE.
Avu-chan: I’d like to think that we just can’t do things like that, and that’s one of our strengths.
I’ve heard that you already have plans for future overseas shows.
Avu-chan: Decisions about overseas shows are starting to get made, so in the future I think we’ll be playing abroad more and more.
In Japan, you’ve got plans to perform in festivals and events, and in November you’ve lined up a performance hall tour, “Juni-jigen + 01.”
Avu-chan: We’ve decided how we’re going to present ourselves in our shows, so now we’re working on internalizing that at the physical level. There’s a lot we still want to do, and we’re always thinking about what challenges to take on next. I feel like we have to keep updating ourselves, stimulating our own cycle of creativity, shedding our skin. If we don’t, we’ll die. I wonder what kind of beast we’ll have become at the end of this transformation.
It’s like QUEEN BEE’s own theory of evolution.
Avu-chan: The end result of evolution is collapse, so what I’m talking about isn’t quite evolution. What will lie at the end of this cycle of metabolism? I’m not going to hazard any specific guesses, but I’m really looking forward to seeing how it all turns out.
I’m sure there are a lot of people who are encouraged by how QUEEN BEE refuses to simply be satisfied with how things are, but instead is always taking on new challenges.
Avu-chan: Looking back, from two or three years ago until just recently, there were no discussions about tie-in songs. But even during that time, we were making our own music videos and keeping our focus on QUEEN BEE in all that we did. I think that all combined to put us where we are today. Right now, people are enjoying “Mephisto,” but I don’t see this as our peak. No matter what the situation, we’re just going to keep being on stage — that’s what we’ve made up our minds to do.
—This interview by Itsuki Mori first appeared on Billboard Japan
Japanese dance and vocal group ONE N’ ONLY dropped its new song “EVOL” digitally on Wednesday (Aug. 16). The latest track is an upbeat, passionate reggaeton-flavored number fitting for where the ever-evolving band currently stands.
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Billboard Japan chatted with the six members of the group celebrating its fifth anniversary this year — HAYATO, REI, TETTA, NAOYA, EIKU, and KENSHIN — about “EVOL” and also asked them to share their impressions from the group’s headlining Brazilian tour from earlier this year.
You toured Brazil this spring and performed for your fans there at last. Could you share your thoughts on the trek?
HAYATO: We were really happy to be able to go there to do our own shows instead of being part of a bigger event. We came up with a setlist with about the same number of songs as we do in Japan, and spoke to our audience completely in Portuguese. But when we first decided to tour three cities in Brazil, we weren’t sure just how many SWAG (ONE N’ ONLY fans) would be there. It felt so moving on our first day of the tour in Sao Paulo when we saw the faces our fans, knowing so many people had been waiting for us to come.
REI: Their reactions were amazing too, weren’t they?
HAYATO: Yeah. Everyone reacted so enthusiastically to what we did onstage. Everyone sang and danced and all those reactions were just awesome, so it was a lot of fun to do.
What about you, TETTA?
TETTA: To tell you the truth, I’m not completely used to performing live yet. [Laughs] I guess I’ll just have to keep doing it to feel truly comfortable with it. It was such a great experience, though, and I really felt the energy of the people of Brazil. SWAG in Brazil were so energetic and I couldn’t outdo them in that regard! I’ll do better next time!
HAYATO: Yeah, they were so full of energy.
NAOYA: I got injured a few days before we left for Brazil and couldn’t be a part of our performances. But everyone over there gave me such a warm welcome and I felt what a generous country it is. I actually wasn’t sure until shortly before we departed if I could come along or not, so I was so glad to have been able to be a part of it. And the band members all stepped up for me so I really appreciate them.
At what point did you feel they stepped up for you?
NAOYA: I had a chance to see them performing onstage when I couldn’t join in, and felt so proud to see the five of them commanding the stage with such vitality. Our SWAG had such power and passion, too. They let us know they were having a lot of fun, just like we thought they would!
EIKU: I thought it was a country overflowing with love. There was no reserved seating in the venues we played in, and everyone ran to grab the seats up front. When I saw that, it really hit home just how much our fans love us. Oh, and whenever one of our crew members crossed the stage before we went on, the crowd made so much noise!
HAYATO: Oh, yeah! Our crew was so pleased about that.
EIKU: Yeah. They went up there about four times on purpose and seemed to revel in all that attention. [Laughs] Each of the three cities we visited had different vibes and that was fascinating, too.
KENSHIN: When you stop and think about it, being able to tour on the other side of the planet is such an amazing thing. We had a special place in our hearts for Brazil, and it was such a happy feeling sharing the same space with our SWAG in that country.
You had two Portuguese-language songs in your set. Were your fans excited to hear them?
KENSHIN: They loved those the most! The way they expressed their excitement was awesome. But they were also hyped about our Japanese songs as well, so I felt that our songs were getting through to the audience. I’d love to visit again.
REI: Everyone was so upbeat! Their reactions to every single thing we did were just awesome and it was a lot of fun.
The group’s new song “EVOL” dropped this month. It’s also a really upbeat number.
HAYATO: I wish we could have performed this one during our Latin American tour!
Sounds like it would have been a lot of fun! Did you start discussing what kind of music to release next around the end of your 5th anniversary tour?
HAYATO: Yes. We’ve gone into depth about the concept for each song we’ve been releasing lately every time we produce a new one. For this we decided to come up with a summery track and incorporate a Latin flavor as one of the group’s new distinctive styles. It turned out to be a song with a catchy chorus over Latin and reggaeton beats, which suits us.
REI: When I first heard it, it took me by surprise because I’d never heard anything like it before. But I knew we’d able to express it and that we were the ones who could do it justice because of where we currently are as a group right now.
KENSHIN: I’m in charge of the opening lines and the rap part of the second verse. The track is built to hype people up and plunge them into the music. The sultry vibe of the second verse also has a summery feel to it, so I hope people enjoy that.
You’ve all probably matured as you’ve grown older since you first got started. Which member do you think has changed the most in that regard?
REI: I think EIKU is more attractive now.
TETTA: I know what you mean! EIKU is the youngest and it’s like he’s upgraded. First of all, he’s bigger in physique. Which means his style of dancing has changed and he has a man’s face now.
HAYATO: He’s gone from cute to cool.
REI: EIKU is probably the one who’s changed the most both externally and internally. He used to be the quiet type before, but now he steps forward a lot more.
TETTA: Oh, I know! That’s probably because he changed his bangs and began parting it in the middle. And then he changed again by dyeing his hair and stuff. By the way, I was the one who said he’d look better if he parted it like that.
So you’re saying he changed thanks to you?
TETTA: Yeah!
REI: Why do you always try to take credit for everything? [Laughs]
TETTA: I’m the type who says, “I knew them before they were big” more than anyone! [Everyone laughs]
EIKU, are you aware of these changes they’ve pointed out?
EIKU: I guess I am. I think the changes in the kind of songs we do now might have something to do with it, but I do think I express myself differently now… from around when I began parting my hair down the middle. [Laughs] I also study videos of other people performing in different ways.
What will the choreography for the new song be like?
NAOYA: We just began learning the moves. MONA, the choreographer who came up with the dance for Na-Yeon from TWICE’s “POP!,” is handling the dance for this one.
TETTA: We often had male choreographers handling our performances in the past, so I hope everyone enjoys our new catchy dance moves that are different from before. We’d love to see you dancing on TikTok!
NAOYA: Yeah, since the song is so catchy, too. It’d be great if you all have fun with it!
—This interview by Kana Yoshida first appeared on Billboard Japan
YOASOBI’s “Idol” continues to blaze the trail on the Billboard Japan Hot 100, logging an unprecedented 17th consecutive week at No. 1 on the chart dated Aug. 9.
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During this chart week, the male-female duo of Ayase and ikura traveled to Los Angeles for its first performance Stateside at 88rising’s Head in the Clouds LA Music & Arts Festival. The pair took the stage on Sunday (Aug. 6) and was joined by the offbeat J-pop girl group ATARASHII GAKKO! for a delightful live rendition of YOASOBI’s monster hit track.
While overall points for “Idol” continue to decrease, the Oshi no Ko opener continues to dominate, holding the top spots for downloads, streaming, video views, and karaoke this week. It’s also at No. 17 for radio airplay and with a total of 13,350 points, the song is 3,200 points ahead of its competition at No. 2. YOASOBI is set to keep the momentum going as the headliner for the Rock in Japan Festival scheduled for Aug. 13.
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Debuting at No. 2 this week is THE RAMPAGE from EXILE TRIBE’s “Summer Riot -Nettaiya-,“ the 20th single by the dance and vocal group. Released Aug. 2 as a double A-side single with “Everest,” “Summer Riot” is a collaborative number with Japanese drum performance group DRUM TAO. The song launched with 229,498 copies to hit No. 1 for sales and also comes in at No. 3 for radio. The track didn’t fare too well in the digital realm — No. 35 for downloads with 1,642 units, No. 32 for streaming with 3,195,380 weekly streams, and No. 73 for video — and bowed in its current position on the Japan Hot 100 powered by CD sales.
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Jung Kook’s “Seven” featuring Latto holds at No. 3. The youngest BTS member appeared as one of the guests at SUGA’s solo show Agust D TOUR “D-DAY” THE FINAL that took place at KSPODOME in Seoul, South Korea Aug. 4. “Seven” falls 10-14 for downloads, holds at No. 2 for streaming, slips 3-2 for video, and stays at No. 9 for radio this week.
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Tatsuya Kitani’s “Where Our Blue Is” rises 5-4 after the rising singer-songwriter performed the track live on the long-running TV show Music Station Aug. 4. The Jujutsu Kaisen Season 2 opener collected points in a balanced way, coming in at No. 3 for downloads and streaming, No. 8 for video, No. 38 for sales, No. 27 for radio, and launching at No. 74 for karaoke.
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Hikaru Utada’s “Gold” jumps 40-10 on the Japan Hot 100 this week after the movie the track is featured as the theme — Kingdom 3 starring Kento Yamazaki — hit Japanese theaters July 28. The latest song by the iconic J-pop singer-songwriter rules radio and comes in at No. 6 for downloads and No. 54 for streaming.
Mrs. GREEN APPLE charts four songs in the top 20 this week as the pop-rock band prepares for its first dome shows set for Aug. 12 and 13. In the top 10, “Ao to Natsu” moves 10-8 with increases in downloads and streams, while “Magic” is at No. 9 with downloads continuing to increase since the track’s release.
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 July 31 to Aug. 6, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
YOASOBI’s “Idol” extends its record stay atop the Billboard Japan Hot 100 on the chart dated July 26, now at 15 consecutive weeks.
The Oshi no Ko opener has dominated the Japan Hot 100 since it first took the top spot on the April 19 list, and while overall points are on the decline, it continues its reign over streaming (17,831,823 streams, 15 straight weeks at No. 1), and karaoke (9 straight weeks at No. 1), while also returning to the top spot for video views from No. 2. The track also continues to perform well in downloads (16,369 units, No. 2) and radio airplay (No. 17).
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Also holding at No. 2 this week is Jung Kook’s “Seven” featuring Latto. The first solo single by the BTS member dropped July 14 and hit No. 1 on the Billboard Hot 100 on the chart dated July 29. The track is the second solo project by a member of the K-pop group to hit No. 1 on the list, following Jimin’s “Like Crazy.” In Japan, “Seven” comes in at No. 2 for streaming (14,601,063 streams, three times more than last week), No. 4 for downloads (12,656 units), and No. 2 for video.
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Kenshi Yonezu’s “Chikyuugi” (Spinning Globe) debuts at No. 3 this week. The theme of Studio Ghibli’s latest animated movie The Boy and the Heron by Hayao Miyazaki dropped July 17, three days after the movie opened in Japanese theaters. The song comes in at No. 1 for downloads (34,423 units), No. 11 for streaming (5,417,188 streams), and No. 4 for radio. The music video was released on Wednesday (July 26), adding some more fuel towards the song’s performance on next week’s chart.
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Veteran pop-rock band Southern All Stars’ “Bon-giri Koiuta” bows at No. 7. The track is the first of three consecutive releases spanning three months celebrating the group’s 45th anniversary this year. It’s off to a strong start, coming in at No. 3 for downloads (16,317 units), No. 1 for radio, and No. 48 for video.
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Tatsuya Kitani’s “Where Our Blue Is” slips 4-3 this week. The CD version of the Jujutsu Kaisen Season 2 opener went on sale during the chart week, and the track comes in at No. 6 for sales, No. 5 for downloads (10,046 units), and No. 3 for streaming (8,215,198 streams). While it dropped slightly on the Japan Hot 100, the track jumps 15-5 for radio and 28-8 for video, collecting points in a balanced way overall.
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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 July 17 to 23, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
J-pop idol Shinjiro Atae is ready to open up to the world about his sexuality.
During a free fan event at Line Cube Shibuya in Tokyo on Wednesday (July 26), the Kyoto-born singer officially came out to his fans as a gay man. Speaking to a crowd of approximately 2,000 fans according to a press release, Atae spoke at length about his decision to come out and what he hoped it meant for fans struggling with a similar process.
Atae then took to his Instagram to announce the news to the rest of his fans who were unable to attend the event. “To all my fans, today was a very special day for me,” he wrote. “For years, I struggled to accept a part of myself … but now, after all I have been through, I finally have the courage to open up to you about something. I am a gay man.”
Acknowledging that for a long time he “could not even say it” to himself, the J-pop singer said that he eventually accepted who he was and decided to share his truth with the world. “I’ve come to realize it is better, both for me, and for the people I care about, including my fans, to live life authentically than to live a life never accepting who I truly am,” he wrote.
Atae first debuted as a founding member of the popular J-pop group AAA, which debuted in 2005 and went on hiatus in 2021. Since joining the group, Atae also began his own solo music career, which has garnered him over 11,000 monthly listeners on Spotify.
To celebrate his coming out, Atae released a new song and music video titled “Into the Light.” Throughout the English track, Atae details living life as different versions of himself before stepping into the titular light, telling his fans that “You opened the door/ So I could open my heart.”
Along with revealing that he would be releasing the full footage of his speech from the fan event on Thursday (July 27), Atae closed his Instagram post by thanking his fans for their unwavering support throughout his career. “When I think of my work in the entertainment industry and the many things for which I am grateful, it is my relationship with my fans that first comes to mind,” he wrote. I thank you guys from the bottom of my heart for standing beside me over the years. I’d also like to thank my family, friends, staff members and my fellow AAA members for providing me their full support throughout this process.”
Check out Shinjiro Atae’s full Instagram post, as well as his music video for “Into the Light,” below:
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Bonjour Suzuki is a singer-songwriter who has sung and produced music for anime, video games, movies and more, demonstrating her wide-spread talent. RinRin Doll is a Japanese lolita fashion model and YouTuber active worldwide. Together, they form the unit “Bonjour Suzuki & RinRin Doll.”
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On June 30, the duo released their debut song “Carnival Dolls,” showcasing Bonjour Suzuki’s music production and RinRin Doll’s lyrics and direction, putting the unit into high gear. Both have separately enjoyed tremendous popularity within Japan and overseas in Japanese pop culture, and now they’ve combined their areas of music and fashion, opening a new door to the world. What message do the two have to share?
What led to you two deciding to form this unit?
Bonjour Suzuki: When I had performed at an Angelic Pretty fashion show (a popular lolita brand), I found myself drawn to this cute model with a curious allure. When I got a closer look, I realized that it was RinRin, who models for several magazines and brands, so I was too nervous to talk to her. But I had another chance to know her through friends and we grew close. I had known she could dance and perform, but when I heard her sing, her voice was so cute and so charming, I immediately said, “Hey! Let’s do something together!” It was only natural for us to create the unit.
Could you talk a bit about your roots and what you do?
Suzuki: I started learning classical piano when I was three. I’ve also studied the koto, shamisen, harp, and viola, among many instruments. My mother had sung jazz, so I grew up listening to soul music, jazz, Bossa Nova, and motown. I also have relatives in France so I listened to a lot of French music as well while growing up. I ended up studying French through music, movies, and anime, then went abroad to study language and music in southern France. There, I had a vocal teacher who inspired me so much with her words that I still, to this day, reflect on her advice. Following that, I started listening to even more songs from Iceland, France, and the like and discovered new vocal styles that have now reflected in my current style.
You do everything, right — not just the vocals, but also writing the lyrics and the music, performing the music, and mixing?
Suzuki: I sometimes ask other people to handle a part of it, but I usually do it all myself. I’m a big fan of French artist Emilie Simon, so I wanted to do everything myself, too, and I started studying how to do it.
RinRin, when did you get into music?
RinRin: Since I was a little kid I learned to play the piano and the guzheng (a Chinese zither). I also loved listening to all kinds of music and studied music theory in school as well.
Did you start modeling and posting on YouTube after coming to Japan?
RinRin: Yes. I started modeling for a well-known lolita fashion brand called “Angelic Pretty” in 2009 for their catalogs and fashion shows. I also became a dokusha-model (an influencer for print media) modeling lolita and street fashion in iconic subculture magazines like KERA and Gothic Lolita Bible, among others. Starting around 2013, the popularity for the style grew overseas and I was often invited as a guest to lolita fashion events and anime conventions all around the world like The Netherlands, France, Germany, Mexico, Canada, the US, Chile, Korea, China, Australia, and so on. I noticed I often get asked a lot of questions all about Lolita fashion and beauty, so I started a YouTube channel to answer commonly asked questions and post content I hope people will enjoy.
What kind of reactions have you two had from overseas audiences?
Suzuki: I sang, composed, arranged, and wrote the lyrics to the opening theme for the anime “Yurikuma Arashi” directed by Kunihiko Ikuhara, who’s famous for creating Sailor Moon R: The Movie, and he has countless fans around the world who listened to the song. People from countries like Germany, Russia, Spain, China, and Indonesia, even covered the song in their own languages! I’d been making rap and electro songs with friends overseas, but when I started working as a soloist, I wanted to make songs that fused Japan’s unique kawaii culture with a more mysterious aesthetic to create a distinctive feel. I was looking for a female artist who I could create this music with, so it was fate that I met RinRin. I want the two of us to make a lot more songs that could be used to create a cute ambiance for events like lolita tea parties.
RinRin: I get a lot of comments online asking about how to get into lolita fashion, what it’s like to work in Japan, what’s the current trends in beauty and fashion in Harajuku. I find a lot of people are interested in Japanese fashion and culture, only not knowing how to get closer to it and participate. I hope I can inspire more people who want to try kawaii subculture fashion to be able to be comfortable in expressing themselves. When I do lolita fashion tea parties (where everyone wears lolita fashion and has tea) overseas in person, I have a chance to talk to everyone directly and learn that usually everyone has an open and positive reaction. I also always request to play Bon-chan’s music at these tea parties. It really fits the vibe and everyone falls in love with it.
What’s the atmosphere like in these tea parties?
RinRin: Depending on the event, it can be anything like doing a fashion show or talk show, but I also request to go from table to table to chat directly with people about themselves and lolita fashion. No matter what country, the people who come to the tea parties see lolita fashion as a way of expressing themselves. They say that no matter what kind of difficulties they might find themselves up against, when they put on Lolita clothing, it makes them feel strong. Everyone’s happy to have this opportunity to wear cute clothes in an accepting space at lolita fashion tea parties, and there’s a tight-knit community every place I go. It makes me want to create even more opportunities and safe spaces like this and support people who enjoy cute styles. Through our unit, I’d like to connect Japan and the rest of the world and show everyone how much confidence Lolita fashion provides.
What was the idea behind your debut song, “Carnival Dolls?”
RinRin: When I first heard part of the track that Bon-chan had come up with, it immediately reminded me of faerie rings of European folklore. The story goes that if a human sees a ring of fairies dancing they would get enticed into the ring to dance with the faeries and before they know it, two decades would go by. I feel like there’s a connection between this story and current social media, where everyone looks like they’re having fun so the viewer would be drawn into it and lose track of time. However, I also felt there’s an ephemeral quality of staying in the moment and feeling like “while we’re all together, let’s just have fun and dance!”
For the music video, we knew exactly who we needed to bring on to produce the music video. Our friend, SAKUnoTORIDORI, who is an art director, set producer, photographer, and brand creator, is perfect for the image we were going for. She has a fairy-tale-like vision with all her works and we were so happy to come together as a trio to bring this vision to light.
Suzuki: In writing the music, I was inspired by RinRin’s faerie-like, intriguing aura. When she told me about the faerie rings, I reworked the track to include that faerie ring image. The song starts with the opening of J.S. Bach’s Fugue in G minor, layering baroque classical instruments. I brought my harp to the studio to play on the track, and violinist Asuka Mochizuki played violin and viola, which we layered on top of the programmed tracks. We used our instruments to depict this image of RinRin dancing, faerie-like, in the forest, and arranged the song like a sonic representation of the faerie ring feeling that the song had given her.
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The lyrics are in several different languages, right?
RinRin: Yes, since we wrote the lyrics together, we used our experiences and languages we know. We hope people in parts of the world have that “Oh hey!” moment when words they understand suddenly pop out.
Suzuki: French has a mysterious sound to it that creates a wonderful atmosphere, so we sprinkled it throughout. Even a single word is enough to create a vivid image. Just like how I learned French from listening to songs, I looked up words from RinRin’s English lyrics to use in my own daily life, and I think it would be wonderful if people in English-speaking countries were able to learn some new Japanese words from the song.
What kind of activities are you planning for the unit?
RinRin: I plan to continue doing lolita fashion tea parties, fashion shows, concerts, and other events within Japan and overseas, with the hope that our music can create safe spaces where we can enjoy community together. I also hope to work hard to serve as a bridge between Japan and overseas; and that more people can come to know about lolita fashion and kawaii culture.
Suzuki: I want to go with RinRin and perform shows at overseas events. I’m also going to do my best so that one day our music will be used in anime or games.
—This interview by Takayuki Okamoto firs appeared on Billboard Japan
Kenshi Yonezu’s new single “Tsuki Wo Miteita – Moongazing” is featured as the theme of Final Fantasy XVI, the latest installment in the hugely popular video game series. The J-pop hitmaker says the franchise has held a special place in his heart since childhood and that it has greatly influenced him as an artist.
In writing the song for the new game, Yonezu and game producer Naoki Yoshida held in-depth discussions to create a song that would deeply resonate with the story when heard in the context of the gameplay.
Music writer Tomonori Shiba caught up with the multi-hyphenate, who shared the process of the song’s production, his love for the Final Fantasy game franchise, how he feels about the expansion of his reach outside of his home country and more in this interview for Billboard Japan.
What was your first thought when you were tapped to write the theme for Final Fantasy XVI?
Kenshi Yonezu: I never thought I’d be able to work on the theme song for a game series that I’ve been playing since I was a kid. I feel like I’ve been saying this a lot lately, but it was simply an honor. It really felt like a unique opportunity.
What did the producers of the game discuss with you off the bat?
First, Mr. Yoshida spoke super passionately about the outline of the story and his thoughts that went into it. After that, I received a text-based script for the entire game and brief character descriptions. I was asked to create the music to be played during a particular scene in the game, so I think they were willing to let me do what I wanted with that to a certain extent, to create music based on what I felt.
Did you communicate with Mr. Yoshida while you were producing the song?
Yes, we did. Quite often. He’d come by regularly and show me visuals of how far the game development has been proceeding or how the battle system looks like at the moment. I could see how passionate he was about what he does. He spoke with great enthusiasm about what he was working on and what the game was like, while also taking pride in what he was doing. Of course it’s only natural, but I could sense that they took this project very seriously, and felt that I couldn’t take it on half-heartedly.
You’ve always mentioned Final Fantasy as one of your favorite games. How did you first come across it?
My family got a PlayStation when I was in first grade, and while I don’t remember what game I got first, I noticed one day that we had a copy of Final Fantasy VII. I don’t know if someone had bought it or if it’d been given to us, but there it was so I decided to give it a try. That’s how I started playing it.
What was that experience like for you?
Now that I think back on it, it feels like this work had a lot to do with my current tastes and preferences. The story is serious and the cityscape has a steampunk feel to it, and I still get excited when I see things like that. Looking back, I think it had a great influence on the development of my personality.
How would you say that those influences from the series appear in your own works as a musician and artist?
I’ve loved fantasy since I was a kid. I’ve been into it since I was in kindergarten or elementary school. Fantasy is a simple word to describe the concept, which is about things that could never really exist in our everyday lives, being there like they were commonplace. I spent my childhood yearning for such imaginary spaces. Looking back now, I think it’s been one of the main pillars shaping my life.
From there I got into drawing and making music, and even now that I do those things professionally, a lot of the music I make and pictures I draw still come from that fantastical, imaginary point of view. I always really liked playing alone, so I spent my childhood reading books and playing games at home, having fun letting my imagination run free and conjuring up fantastical things in my mind, rather than getting pleasure from communicating with others. That continues to this day and I think I learned a lot from it.
It’s called fantasy, but there’s quite a bit that mirrors reality. Reality is always reflected in fantasy and the two are inseparable, like the two sides of a coin. So I think there’s certainly a kind of true nature of reality that can only be acquired through fantasy, through a fantastical story. Fantasy is filled with a shape of reality that can only be expressed in that way.
What was the starting point of the idea for the song?
I thought a lot about what a theme song for a game is all about. After all, compared to movies, anime and TV drama series, a video game takes much longer to get through, as in dozens of hours. Plus, you become the player through the controller, immersing yourself in the game and experiencing the world for yourself. So I think your attachment to that world is much deeper than other media. When I was asked to write the music for this project, I felt it shouldn’t be something that evokes a kind of squalid everyday life.
So while you’re the one writing the song, the original concept was to write something that wouldn’t drag players back to reality when they heard it in the game.
Right. I’ve been asked to write many theme songs in the past and have worked with various stories, but I think I placed more emphasis on the game itself than ever before for this one. Since I make pop music, I have to create music that’s appropriate for each story while also reaching people who aren’t involved in that story, who are unfamiliar with it. Whenever I work on a theme song, I always try to find the right balance between the two, but this time the balance is quite off and the music leans heavily toward the game.
How did that change the way you wrote the song?
It became more of a selfless dedication. I had all kinds of distracting thoughts going through my mind when I was writing it. Stuff like, “Maybe I should do certain things to make it easier for people who haven’t played the game to understand” or “Maybe if I added certain sounds, it would make it better as a pop song.” Such distracting thoughts would swirl around and I tried to be aware of doing away with them this time. So it was selfless in that sense. I simply made music for the sake of the story. I really went in that direction more than ever before for this song.
So the concept of this song was different from your previous experiences writing themes for anime and drama series.
The theme song for a drama series on TV is played in every episode, and the scenes and situations where the song is heard will be different. That means the song has to be abstract in some ways. The task is to find where the root of all 10 episodes of the series lies. For example, I’d try to come up with three important elements of the story and work though various incidental details to get to what remains at the end. Then I embellish that in my own way. For a song like this one that would be played at a particular scene in a video game, I didn’t think such an approach would be appropriate.
The way the song is written, when you hear it after playing the game, you realize what it’s about and leads to a better understanding.
I mean, it’s not too much to say that I wrote it just for that purpose. When you finish playing the game and hear the song, the pieces all fit together for the first time. That’s the way it had to be done. Considering the numerous video games I’ve played in my life, I felt that if I did it any other way, I wouldn’t be sincere to who I am. I guess on a certain level it’s not sincere as a piece of pop music, but in this case, I had a feeling it was the right thing to do.
Could you share what resonated with you after you finished playing Final Fantasy XVI?
FF16 is a very serious game, and as you identify yourself with the harsh reality of the protagonist through the controller, your desire for them to be happy grows and grows. The protagonist is born under oppressive conditions and is forced to fight grinding battles all the way from there. When you think about how unfortunate that is, you begin to feel strongly about wanting them to find redemption. I thought about such things when I wrote the music. But I also had to include the scars he left behind in the song. I felt it wouldn’t be fair if I didn’t, so I tried to write a song that would give a feeling of redemption while also encompassing a kind of grudge that will never completely go away.
I’d like to ask you about the international expansion of your reach. Last year you released “Kick Back,” the opener for the anime Chainsaw Man, and the track gained popularity in many countries and regions outside of Japan, among people who speak many different languages. How do you feel about that?
I’m grateful. As someone who makes popular music, I want many people to listen to what I put out. In that sense, I’m grateful to Chainsaw Man for giving me the opportunity to write that song.
And “Tsuki Wo Miteita – Moongazing” is featured in Final Fantasy, a series with ardent fans of all ages not only in Japan but also in many other countries and regions, also among people who speak various languages. What are your thoughts on that?
The song is in Japanese and I’m not sure how people will feel about this Japanese song. I feel nervous about how people interpret it, and right now I’m just hoping that the game hasn’t been ruined because of the song’s inclusion in it.
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I think emotions expressed in music transcend borders and languages, and kind of imagine you want that to be the case, too.
Yes. The song is basically in Japanese, so what’s being sung won’t come across (to speakers of other languages). But I’ve experienced moments where I’m moved by something even though I’m far removed from its meaning linguistically. I’ve certainly had experiences where I’m strongly drawn to a voice or the music from foreign countries, in foreign languages I’m not familiar with. I hope this song will be taken in that way.
One last question. Aside from Final Fantasy XVI, are there any other video games that you’re into or curious about?
I’ve been playing Minesweeper all the time lately. I’ve talked about it a lot at my concerts, and I’ve been feeling firsthand how addictive it is because of its simplicity.
—This interview by Tomonori Shiba first appeared in Billboard Japan
YOASOBI’s “Idol” sets a new record this week on the Billboard Japan Hot 100, logging its 14th consecutive week at No. 1 on the chart unveiled July 19.
The Oshi no Ko opener debuted atop the chart released April 19 and has stayed there ever since, now breaking Billboard Japan’s all-time record for consecutive weeks at No. 1. While overall points for the track is moderately declining, points for downloads increased slightly (No. 2). It continues to dominate streaming and karaoke for the 8th straight week and also comes in at No. 2 for video views and No. 10 for radio airplay, still ahead of the No. 2 song by approximately 1.8 times the total points. In addition, the song hit 300 million total streams this week, which also breaks Billboard Japan’s record for fastest to mark the milestone.
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Notably, YOASOBI’s Ayase’s collaborative project with Creepy Nuts rapper R-Shitei (R-rated) called “Hiten” debuts on the Japan Hot 100 at No. 73. The opener for the new TV anime series Rurouni Kenshin was digitally released July 6 and hits the Japan song chart this week after reaching No. 14 for downloads and jumping 55-24 for radio.
At No. 2 this week is BTS member Jung Kook’s solo single “Seven (feat. Latto),” released July 14. Campaigns on streaming platforms played a part in the track hitting 4,608,696 streams to come in at No. 14 for the metric. The song also ruled downloads with 39,170 units, while the music video released on July 15 hit 74.88 million views on YouTube alone (as of July 19) in just four days since its release (No. 1 for video).
Kitani Tatsuya’s “Where Our Blue Is” rises 8-3 after debuting on the Japan Hot 100 last week. Streaming for the Jujutsu Kaisen Season 2 opener increased 2.3 times from the previous week to 8,907,498 streams, landing the song at No. 2 behind “Idol” for the metric. It also came in at No. 3 for downloads (14,362 units), No. 15 for radio, and No. 28 for video. With the CD version coming out today (July 19), its performance on next week’s chart is something to keep an eye on.
NewJeans’ new song “Super Shy,” released digitally on July 7, breaks into the top 10 this week from No. 60. This is the lead track off the breakout K-pop girl group’s second EP Get Up, due July 21 in Japan. It’s off to a good start ahead of the “Ditto” group’s first new release in about six months, reaching No. 7 for streaming (6,167,279 streams), No. 7 for radio, No. 8 for video and No. 39 for downloads (1,641 units).
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Mrs. GREEN APPLE, currently on their domestic arena tour, charted four songs in the top 20 this week. While “Magic” off the pop-rock band’s latest album, ANTENNA, slips 5-6 on the Japan Hot 100, it rises to No. 6 for downloads and video. “Que Sera, Sera” rises 11-8 powered by a significant increase in downloads. “Dancehall” holds at No. 16 and “Ao to Natsu” moves 14-11, with points in karaoke showing a gradual increase overall.
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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 July 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.