AUTHOR
Pierre “Reyep” RENAUD ialah pengasas J-POP streaming. Selama lebih 25 tahun, beliau membantu muzik Jepun menjangkau khalayak di luar Jepun, daripada menubuhkan rangkaian media antarabangsa JaME hingga berkhidmat sebagai Content and Guest Manager untuk Japan Expo. Hari ini, beliau mendengar muzik merentas genre dan generasi, menghubungkan keluaran baharu dengan artis, scene dan kisah yang membentuknya.
Ten years ago, HKT48 built fan calls into “Saikō ka yo” and handed Hana Matsuoka her first center. The single became the group’s eighth consecutive number one.
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Ichiro Araki’s debut single turns 60. Three minutes, 600,000 copies and the beginning of one of Japanese music’s most elusive careers.
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From globe and Namie Amuro to Fishmans, LAMP EYE and enka, these 100 singles map the year Japan’s CD boom reached full force—and its musical future broke through.
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Released on September 2, 1996, PSYENCE moved from big-band brass to industrial rock, garage punk and pop without allowing any genre to define hide.
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55 RED arrives today with 55 BLACK RETURNS. Maki Ohguro completes a two-album project conceived at 55 as her 35th-anniversary campaign begins.
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Rock, hip-hop, metal, idols or enka: why are so many different kinds of music gathered under J-POP — and why did J-POP streaming choose it over J-music?” focus_keyphrase: “What is J-POP?
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SCANDAL will end its activities on August 21, 2027, after one final tour of Japan. The band has announced neither a breakup nor a hiatus. We look back at twenty years together.
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The website disappeared and the playlists stopped moving. The desire behind J-POP streaming did not. Here is why it went away, what changed and why it can now return.
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Shuichi Aoki and Chie Iwashita revisit Night Hawks’ difficult history, their unexpected return, the meaning of rock and the forty-year journey behind “Anmoku no Hibi.”
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With “Ronin,” Re:O became a four-piece built on incompatible influences, impossible drum parts and a shared desire to push Rio Suyama’s songs somewhere heavier.
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Daripada synthesizer terpakai hingga “Save my love”, Flehmann bercerita tentang kembali kepada muzik, membina lagu daripada bunyi dan menulis untuk suara lain.
Pada awal 2024, OTO MAYUMI berbual dengan J-POP streaming tentang Good and Bad Shades, cintanya terhadap J-rock 1990-an dan penerbit yang membantunya menemui bunyi yang tepat.