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I think a lot more artists are going to be doing the same in the near future.

A lot of modern touches appear, but Harunemuri still manages to get her own personality through. Not to get too comparison heavy, but it’s a bridge between Izumi Makura and Oomori Seiko. A few recurring sounds in her stunning LP Harutosyura and cohesive pieces of experimental Japanese hip hop. Yet then she barrels into the chorus, where she ramps up the intensity, approaching a shout. Following up Haru Nemuri previous works you can find some interesting ideas as Tokyo Calling, some great transitions like Zzz to Sayonara Baby Pink. As mentioned, Harunemuri’s most defining characteristic is how she sings, in a rap-crashing-with-sing-song style bringing to mind Daoko or - especially over the zippy piano lines here - KOM_I of Suiyoubi No Campanella. What’s striking about that album and now new song “Yume Wo Miyou” (off her full-length debut out next month) is how a lot of trends bubbling up in J-pop over the last few years collide here. She has creative and left-field-ready ideas for days, though the album could use a little tightening up, but if Daoko’s ascension to J-pop limelight left you letdown, that album should soothe the pain. Last year’s Atom Heart Mother (really!!) offered a great introduction into what she’s all about, placing her rap-sing delivery in the spotlight against a mix of wonky beats and one instance of what sounds like an attempt at recreating Gesu No Kiwami Otome. Harunemuri doesn’t represent a new standard in Japanese pop music, but she does point towards a direction where a lot of things are starting to go.