[Oricon Monthly] IDOLiSH7, A3! and more top charts in July

Oricon Monthly July 2019’s final rankings are out.

Let’s take a look at the data.



NEW ENTRY: Masato Hijirikawa “HOLY KNIGHT”

Masato Hijirikawa (CV: Kenichi Suzumura)’s entry in Utapri’s solo album series, HOLY KNIGHT, had a strong month of sales that not only took the album to high ranks on Oricon’s weekly charts, but also takes the album to well deserved top 20 spot. With 27.008 copies sold, the album ranks at #14.



Autumn Troupe‘s entry in A3! BRIGHT EP series ranked has a solid run in July, ranking within top 20 for several weeks. Now, with the month wrapped up, the EP is ranked at #21 with 19.779 copies sold.



The Winter Troupe follows closely behind with its entry in the BRIGHT EP series ranking at #23. The EP sold a total of 18.900 copies.



Yuma Uchida‘s 1st full-length album HORIZON had a stead first month of sales, with over 17.000 copies sold, enough to grab a spot at #24.


NEW ENTRY: STARISH, QUARTET NIGHT, HEAVENS “SET LIST ~Theatrical anime Utano prince sama Maji LOVE Kingdom


Utapri‘s special set list enters July’s chart at #30 after a consistent month of sales following the popularity of the franchise’s new movie.



OLDCODEX‘s new album LADDERLESS might have had a not so showy performance on the charts but was still able of getting a deserved spot at #44 after selling a bit over 7.400 copies in July.



NEW ENTRY: Tenn Kujo “Wonderful Octave”

Tenn Kujo‘s Wonderful Octave release joins this chart at #31 after a consistent month of sales. The single sold a bit over 16.000 copies.


NEW ENTRY: Riku Nanase “Wonderful Octave”

Riku‘s entry in the 12HITS! series followed closely behind, grabbing a spot at #37. A bit over 14.800 copies were sold in July.

And that’s all for July 2019’s results.

SOURCE: ORICON – albums / singles

Author: midorin

The Hand That Feeds HQ founder and music reviewer writing about Japanese music since 2010. After a 6 month stint in Macau SAR, I am back to being based in Cascais, Portugal. Mamoru Miyano's "Orpheus" was the catalyst to completely focus on writing about male seiyuu music.

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