Carefully selected recommendations of Kenshi Yonezu’s songs and unforgettable masterpieces

TEENAGE RIOTYonezu Kenshi

Kenshi Yonezu – TEENAGE RIOT / Kenshi Yonezu

The major 9th single “TEENAGE RIOT,” released as a double A-side with “Flamingo.” Chosen as the theme song for Mandom’s GATSBY commercial series “GATSBY COP,” the track is striking for its contrast between a cool rock ensemble and lyrics that evoke a sense of restlessness.

The melody itself has no big leaps in pitch and is easy to sing, but since the intensity shifts sharply in the chorus, be careful to switch gears smoothly when singing karaoke.

The key isn’t high either, making it an approachable number even for those who aren’t very confident singers.

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Hoshino Takashi

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caribouYonezu Kenshi

Kenshi Yonezu 1st Album 'diorama' Crossfade

I also recommend “caribou,” which unfolds in a wonderfully mysterious worldview.

It’s a track included on Kenshi Yonezu’s album diorama.

At first glance, it’s a lively song with a pop sound, but the lyrics depict conflict between people.

Another distinctive feature is the use of fictional characters and a story-style presentation.

Although the song is somewhat fast-paced, it stays in a low register throughout with minimal inflection, so it seems approachable even for those who struggle with pitch.

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yamamoto

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Rainy LadyYonezu Kenshi

[With Solo Acoustic Chords] Rainy Lady / Kenshi Yonezu [Full Lyrics]

Although it lasts only about three minutes, Ameguri Fujin unfolds a profoundly rich world.

This song centers on a woman whose going out causes it to rain.

The rain seems to symbolize sorrow, and the lyrics suggest that the woman has experienced heartbreak and is filled with emptiness.

The sharply rising and falling sound also seems to express the turmoil in her heart.

Incidentally, from a karaoke perspective, while the high pitch and fast tempo may make it seem difficult to sing, the key remains constant, so it can also be considered approachable.

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yamamoto

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Kaiju MarchYonezu Kenshi

Kaijuu no March – Kenshi Yonezu | Kenshi Yonezu – Kaiju's March

Kaiju no March, included on the major third album BOOTLEG—where every track serves as an homage to something—features lyrical lines that quote part of Ryoko Moriyama’s Today Is Our Farewell.

These lyrical, evocative words interlink with a nostalgic ensemble to create its unique world.

The overall vocal range is narrow, but the distinctive chorus melody, which uses semitone steps, is easy to go off-pitch on, so take care when singing.

Though it’s not simple, as the melody within a single breath rises and falls considerably in pitch, it’s a number you’ll likely find enjoyable once you’ve mastered it.

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Hoshino Takashi

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junkYonezu Kenshi

Kenshi Yonezu – Junk

Kenshi Yonezu’s new song “Garakuta.” Recently, Yonezu has released a lot of downer-leaning tracks, but now he’s put out a song closer to his roots, reminiscent of “Lemon.” This piece is shaped around a classic J-pop melody.

It isn’t simply a straightforward high-note showcase, but the repeated switches between falsetto and chest voice in the chorus are breathtaking.

It’s delivered so smoothly that it feels excellent to listen to.

Definitely give it a try.

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Ryo

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Dream-Eating GirlYonezu Kenshi

[Lyrics_Subbed] Yume Kui Shoujo – Kenshi Yonezu

Yumekui Shoujo is a self-cover of a song originally released under the name Hachi as a Vocaloid track.

It’s included on the 7th single Peace Sign, while the original, titled Sajo no Yumekui Shoujo, appears on Hachi’s second album OFFICIAL ORANGE.

Overall, the key is low and the vocal range is narrow, but because the chorus features melodic leaps, karaoke performance requires both accurate pitching and careful control of volume.

With its relaxed beat and emotional melody, it’s a hidden gem that feels especially satisfying to listen to.

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Hoshino Takashi

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CampanellaYonezu Kenshi

Kenshi Yonezu – Campanella

A track from Kenshi Yonezu’s album STRAY SHEEP, released in August 2020.

Known for his vocal prowess, Yonezu delivers an impressive performance in this song as well, skillfully employing mixed voice and falsetto.

In the D-melody section, he also uses high chest notes that verge on a shout.

I think it’s a difficult song to sing not just because it requires strong high notes, but that’s exactly why it’s worth the challenge.

Overall, it’s important to aim for a soft, non-aggressive high tone as the core of your delivery.

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Kei Takahata

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