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They're finally doing volume 8. The first chapter (ch.42) is out on Mangadex. This is the cover:
This time, the mcs are roleplaying a detective show. Meitantei Koko is in charge with Aaya as her sidekick, and Kaitou Minori is the bad guy. As you can see, her role is that of a phantom thief who only steals panties (the panties of cute little girls, to be specific). Her several iterations illustrate different aspects of her : in a catsuit wearing panties as a mask, escaping from jail in prisoner's garb, as a criminal mastermind in a dressing gown and a black monocle, or rolling around under a pile of girls' used panties. I'm guessing that the adorable little critters chewing on panties are supposed to be versions of her too...
Two chapters in two days. We are so blessed. 
This chapter was... like the first chapter of an entirely new manga, lol.
No brothels, no prostitutes, no sex, just pure and wholesome fun with two girls who start living together, go through lots of awkward doki-doki moments, and little by little start having feelings for each other.
But of course the last page gets the story back on track. 
Also, My God, I never thought this could ever happen but here we are... I think that the protagonist is way too sexy! to the point I get distracted, like what's the plot ? what's happening OH MY GOD HER ABS! and no, is not over the top lewd or obscene she's just waaayy too sexy lol
You know what, I was thinking exactly the same thing. 
When I saw her in the first pages, in yoga pants and a loose T-shirt tied on the side, I mind-blanked for a few moments! And later she was in tight jean shorts and a thin black top that clung to her curves perfectly and ohmygosh ohmygosh OHMYGOSH!
Todo bien con los recargados kimonos medievales y los formales ropajes de miko, pero a mí es el estilo casual moderno que moldea bien las curvas y cubre lo mínimo posible el que siempre me deja al borde del nosebleed. 
Known lesbian appreciator turns out to be a lesbian. News at eleven.
Why, it's been only four years since I wrote the very first comment that opened this thread...
... and we have already reached kokuhaku stage!!!!!! 
Honestly, I thought for sure it would take another four years. My babies Chiaki and Hana are such speedsters.
(PS: it's really been four years!?!? It feels like it was yesterday that I read chapter 1 and posted the first comment! Time is a speedster too...)
I found some great manga!
From the creator of Ayakashiko about 2 "contract" sisters, the yuri is undeniable https://mangadex.org/title/e3fa25bc-23eb-46c3-af17-36ec9200456e/keiyaku-shimai it might end up in dynasty even if I don't share it XP
Oh, looking good! Thanks for the rec!
And indeed there's no denying the genre. The Indonesian translator is Luminous TL, who are a little particular about the manga they pick. In fact, their motto is: "Yuri shall bless the world!" 
YEEEEESSS!!! FINALLY!! IT'S BEEN YEARS!!!
Holy shit, and KASUMI was the one who went for it?! The first real kiss?! YOU GO GIRL!!!
Haaaaaa...that is something I was genuinely not expecting.
I see what you did there.
Not only she can cook healthy she also seems very aware of economics and income... Huh. maybe I also should find myself a pre schoo-
The Nile ain't just a river in Egypt.
I loved this little Dai Yi moment. I'm going to recommend it for use in situations when there's a yuri manga like Brides of Iberis -- full of boyfriends, fiancés and husbands. 
Aaaand the classic Akiyama Churn™ manifests. I had a feeling it'd show up soon, because in Octave as well, nothing was ever simple, no issues so facile as to be dispelled by a simple change of space or attitude. There's always this creeping, encroaching tension between the eagerness of people to forgive, forget, adjust or compromise on the one hand, and on the other what AH seems to view as the fundamental capriciousness of human nature. The principal characters here, much like in Octave, seem obsessed with deferral, with emotional displacement, with a suspicion equal parts terrified and obsessive that there's a Something Out There that might make them happier than they are now, some secret key that they haven't yet found, eternally cooking up golden pasts, hopeful futures or alternative presents to distract them from the growing emptiness of the now, from this gnawing dissatisfaction that they can never shake for long. The momentum of the narrative is the hunger of characters for that Something, the force of that obsession, which shall inevitably be disappointed when it is attained, only to spur a new one, a new phantom from a body that never was that must be verified or exorcised.
Here and in Octave, Akiyama excellently captures the anxiety of ennui, the terror that at 20-something, you've might already peaked and there is nothing ahead but a cavalcade of greying days that blur into each other like the smoke from a million cars on the streets of a shitty town you'll never get to leave. Akiyama's drama is her skill in the construction of the threat of a looming anticlimax, in her insightful portrayal of the lengths that people will go to, both in order to feel and, vitally, to stop feeling. Both here and in Octave, there seem to be no saviors, no Manic Pixie Dream People to bear all your burdens- if you happen to be a queer person grappling with depression and profound alienation by every segment of society in the orifices of a soulless urban hellscape, asks Akiyama, why on earth would you expect someone similar to you, someone who perfectly understands how you feel, to be any less fucked up after suffering the same things?
In lieu of dreams, paradise or solutions, the only solace offered to her characters is to stop thinking, to pull for one seconds their minds free of this churning, yawning abyss of unease. They try to drown themselves in jobs, hobbies, relationships and, most prominently, in sex- the petit-mort in Octave is no amusing euphemism, because it's the only thing that blanks out the jagged, grayscale oppressiveness of Tokyo, letting Yukino and Setsuko melt into each other in seas of blankness, so close that they feel like the same person, returned, if only for a moment, to some manner of primordial Platonic unity, before the ugly edges of Personality arise from orgasmic hazes and plunge them back into the damnation of individuality- a similar sentiment to Tsuzuki's desperation to dispel the irritation that seems to haunt her even in the seeming freedom of her open arrangement. Wedding rings, antique books, blooming flowers, daily planners- frantically, people try to ward off the nothingness with symbols, with bookings, with values. But it presses inward, and all they can do is keep running into ever shifting sets of arms, in webs of bodies with nothing to stand on. Akiyama's worlds are so very raw, so very earnestly, unpretentiously bare... I love them.
That goes without saying. We can feel the love just by looking through your post.
I wish Akiyama could read this. It would certainly warm her heart. 