Formed in 2011 by vocalist and guitarist Moeka Shiotsuka when she was just 15, Hitsujibungaku has steadily evolved from a high school band into one of Japan’s most compelling alternative acts. Joined by bassist Yurika Kasai, who picked up the instrument specifically to join the group, and drummer Hiroa Fukuda, the trio built their early sound around shoegaze and indie rock. Over the past decade, their thoughtful lyrics, atmospheric instrumentation, and understated yet powerful live performances have helped them to create a distinct place in the Japanese rock scene, culminating in critically acclaimed albums like Our Hope and 12 Hugs (Like Butterflies).

In recent years, Hitsujibungaku has expanded beyond Japan, performing internationally and connecting with new audiences through anime collaborations, including Jujutsu Kaisen and Oshi no Ko. Their music has reached even wider listeners thanks to cinematic music videos, most notably the award-winning Burning directed by Umi Ishihara. Even amid lineup changes, including Fukuda’s hiatus and the addition of support drummer Yuna (formerly of CHAI), the band has maintained its creative vision.

Ahead of their debut UK performance at Hyper Japan in London, we spoke with Moeka and Yurika about their musical identity, growth, and global journey. The band will perform on Saturday, July 19th

View of the Arts: Your music often oscillates between shimmering pop textures and heavier alt-rock dynamics. How do you negotiate this sound duality when approaching songwriting and arranging as a band? Is it instinctive, or a more deliberate balancing act?

Moeka: Back when we were still indie and had some release plans in place, we used to plan things to a certain extent. These days, as the scale has grown, we tend to just go with the flow and do things as they come.

Yurika: Both pop and rock/alternative are really rooted in me. Sometimes I create songs that intuitively express both sides as they are, while other times I intentionally disrupt the chord balance, because I also enjoy pop songs that have a darker side or a sense of subtle unease. Rather than music that fully commits to just one direction, I think I’m drawn to things that are a bit unsteady, imperfect, or carry a slight sense of discomfort.

VOA: Many of your songs carry a gentle tone that brings a sense of looking back, almost like remembering a distant memory, from Wakamono-tachi e to 12 Hugs (Like Butterflies). Do you see Hitsujibungaku as a reflection of memory and emotional time, or as a more forward-facing expression of present emotions?

Moeka: It’s partly about memories, and partly about how I feel right now. But since I have a contrarian personality, there are very few songs that are purely positive or straightforwardly uplifting.

Yurika: When I’m creating music, it feels like I’m turning the “present moment” into sound, but maybe by doing that, I’m also capturing a kind of emotional timestamp from that time. Lately, we’ve been exploring various methods, like crafting sounds that feel nostalgic to us.

VOA: Shoegaze, alternative rock, and even subtle folk influences appear in your sound, but there’s something distinctly Japanese and personal at the core. How consciously do you engage with or resist genre labels in shaping your identity?

Moeka: I’m Japanese, I listen to Japanese music, and I write in Japanese, so I think my music naturally has a Japanese quality. It’s not that I’ve decided on a specific genre, but I do have a clear sense of the sounds I like and the ones I don’t.

Yurika: I listen to a lot of music, and I think the appealing aspects of each influence my songwriting. When I’m creating, the image or vibe I have in mind differs completely from song to song, so in a way, labeling things by genre might actually be a form of discrimination.

VOA: Hitsujibungaku has undergone several transformations, from a high school project to a critically acclaimed rock band. How have your artistic philosophies matured alongside the band’s evolution over the last decade?

Moeka: One major change was how playing in a band shifted from simply being the goal during my student days to becoming a means of making a living, adding a professional aspect to it. Another big factor has been gradually gaining skills. At first, I couldn’t stand it unless everything went exactly the way I imagined, but I’ve since learned to let go when needed. Now I find that, thanks to improved skills, there are more and more things I can manage without compromise. I think I’ve simply grown.

Yurika: I was so focused on getting through each task that I didn’t have much room to think beyond that. But looking back, I realize there were so many possibilities all along. By gradually overcoming the things I couldn’t do, I feel like I’ve been able to expand my potential.

VOA: Moeka, having started the band at just 15 and balancing it with your time at Keio University, you’ve had a dual path through academia and art. Has that intellectual background shaped the way you write lyrics or conceptualise albums?

Moeka: I don’t know what kind of work I’d be creating if I had lived a different life, but my path has been shaped by the Japanese entrance exam system I was thrown into at age ten, and my rebellion against it. That experience, and the fact that I had a family who created that environment for me, has definitely influenced who I am.

VOA: Kasai-san, you transitioned from guitar to bass specifically to join the band. Has this journey affected your approach to rhythm and melody in a way that gives the band its unique emotional undertones?

Yurika: By switching from guitar to bass, I don’t really feel bound by the idea that “bass has to be played a certain way.” The more melodic parts that interact with the vocals or guitar might come from my experience as a guitarist.

VOA: With Hiroa stepping back and support members stepping in, how has that affected your chemistry during live shows and in the studio? Has it brought a new kind of energy or challenge to your performance dynamic?

Moeka: I always receive positive energy from all the support members. Both personally and in terms of our work, the good atmosphere we have right now is largely thanks to the support, especially from YUNA.

Yurika: Even with the same song, the groove can feel completely different depending on the drummer. That really expands the variety of our music. We often try new arrangements, and it opens up new possibilities, not just for the band, but for me as a bassist too. It’s a lot of fun.

VOA: The collaboration with Umi Ishihara on Burning was cinematic and intimate. What kind of visual storytelling do you look for in your music videos, and how involved are you in shaping that narrative?

Moeka: I basically leave everything about the visuals up to the director. I’ve always really liked Director Ishihara’s film work, so I was happy to have the chance to work together.

Yurika: I entrusted Kai Ishihara’s creative vision completely and focused on how I could exist within that world. During the shoot, my role was to perform, so I concentrated on matching the mood with the costume and tried to express a sense of perfection.

VOA: From working with Shunji Iwai early on to soundtracking anime like Jujutsu Kaisen and Oshi no Ko, you’ve intersected with some of Japan’s most iconic visual storytellers. How do you preserve Hitsujibungaku’s musical essence in these cross-media collaborations?

Moeka: Director Iwai was involved as a supervisor for a video directed by Director Matsumoto. Our first anime theme was for Director Tokomachi’s Yuunagi. These projects feel more like commissions than true collaborations, so we try to align with the vision as best we can—while still creating something meaningful.

Yurika: It’s important to understand each work deeply and find the points of resonance between the project and our own identity. That’s how we start composing, by thinking about how best to overlap the music with the story.

VOA: You made your U.S. debut recently and toured the West Coast, which introduced your sound to new audiences. How did that experience contrast with your performances in Japan, both emotionally and logistically?

Moeka: I could really feel that the people who came genuinely liked our music. We even had a photo session after the U.S. show, and I got to speak with fans directly. Many were a bit shy, just like Japanese fans, and it was so heartwarming to hear their thoughts.

Yurika: It was my first time performing overseas, and I was struck by how passionate people were. Many expressed themselves with their whole bodies or raised their voices—something that felt quite different from Japan. But that gaze from the audience, that sparkle, is the same everywhere.

VOA: In recent years, Japanese bands have been gaining international visibility in a broader and more sustained way. Do you feel a shift in how alternative Japanese music is perceived abroad, and where do you see yourselves within that movement?

Moeka: Anime has definitely helped make our songs more accessible abroad. But I often wonder how people discover our other music! I feel like we’re always placed in some “separate category,” and honestly, I don’t really get it, so I’d love someone to explain it to me! [laughs]

Yurika: I also wonder how people find us. Maybe there are nostalgic or familiar elements in our sound that resonate internationally. And since our melodies and lyrics are very “Japanese,” it would be amazing if that uniqueness could be appreciated as its own genre.

VOA: As musicians who’ve matured alongside your audience, how do you reconcile the pressure to evolve with staying honest and true to the voice that originally drew people in?

Moeka: If I cling too tightly to how I felt in the beginning, I start to get bored myself. So I try to let go of the rules I set for myself in the past. In the end, I just ask: Do I like this? Can I accept this?

Yurika: If I can clearly imagine something, I can probably try it. It’s hard to change overnight, but I think it’s important to evolve gradually—while looking back now and then to appreciate the good things about our beginnings.

VOA: In July, you’ll be performing at Hyper Japan in London. What can fans look forward to?

Moeka: I really, really love London, so I’m super excited to finally perform there. Since it’s our first time, I think the setlist will feel like a kind of introduction. I hope people come by and enjoy it casually!

Yurika: This will be our first time in London. I’m looking forward to seeing what kind of people will come and how they’ll listen to our music. We’re planning a setlist that represents who we are right now, in the most honest way.

Written and interviewed by Maggie Gogler

Featured image courtesy of Hyper Japan

_{View of the Arts is an online publication dedicated to films, music, and the arts, with a strong focus on the Asian entertainment industry. With rich content already available to our readers, we aim to expand our reach and grow alongside our audience by delving deeper into emerging platforms such as K-pop and Asian music more broadly. At the same time, we remain committed to exploring the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that define these industries worldwide.}