Sweet Revenge is an amazingly sophisticated album in which Sakamoto sets the distinctive and heart-rending chordal and harmonic ideas of his soundtrack work to trip-hop and neo-bossa-nova beats. The songs are fronted by a succession of guest vocalists who each contribute lyrics which add up to an amazingly coherent whole–a mature meditation on love, longing, conflict, revenge and regret. As usual, Sakamoto was ahead of his time. By spotlighting the deep poetry of J-ME and Latasha Natasha Diggs, this 1994 album anticipated by years the introspective hip-hop diva trend popularized by Lauryn Hill.

"Bricolage," a French word meaning to assemble something from available materials, is such a perfect term for the art of the remix that it's surprising no one has ever used it before. It's less surprising that Ryuichi Sakamoto, whose work has always had a cool Continental flair despite the artist's Japanese roots, would choose such an elegant term for his swish remix collection. Focusing on reworks of material from 2005's back-to-the-roots electro-pop experiment Chasm, Bricolages features a cross-cultural and cross-generational batch of remixers including Cornelius, whose playful sense of pastiche is to current hipster Japanese pop what Sakamoto's Yellow Magic Orchestra was a quarter-century before; his take on the spoken word cut-up "War & Peace" is considerably lighter and groovier than Aoki Takamasa's tense, austere version. Former Japan drummer Steve Jansen, whose collaboration with Sakamoto goes back to the early '80s, contributes the skittering "Break With," bridging the gap between new wave disco and contemporary IDM.

Professor Sakamoto gives a lesson on what is practically a different style of music with each track on Illustrated Musical Encyclopedia, beginning with a sure-fire hit: the extroverted, quintessentially Japanese synth workout "Field Work" (with Thomas Dolby). From there, Sakamoto hits riff-ready crossover jazz-fusion ("Etude"), electronic minimalism ("M.A.Y. in the Backyard"), and Oriental dub ("Paradise Lost"). There is a return to sampladelic Eastern synth-pop with "Steppin' Into Asia," but for the most part Sakamoto displays his impressive stylistic range on this solo album.

Kitaro's universally acknowledged as the founding architect of new age music. The Grammy and Golden Globe Award-Winning Kitaro has achieved global acclaim over a more than three decade long career with a signature sound and a pioneering fusion of cultures, techniques and spheres of consciousness that are truly his own.

Yamamoto's popularity has increased since he played the theme song of the popular talk show. This is the second album featuring the theme song . Yamamoto is the pianist with the best song in Japan. This is a standard collection of gems with exquisite expressive power.

Japan only release edition! Best selection album of Sarah Brightman. 18 tracks, releasing in SHM-CD format. Sarah Brightman is an English classical crossover soprano, actress, musician, songwriter, and dancer. Brightman began her career as a member of the dance troupe Hot Gossip and released several disco singles as a solo performer. In 1981, she made her West End musical theatre debut in Cats and met composer Andrew Lloyd Webber, whom she later married. She went on to star in several West End and Broadway musicals, including The Phantom of the Opera, where she originated the role of Christine Daaé.

Among hardcore 1960s rock collectors who have an interested in Japanese bands of the period, the Mops are one of the biggest acts in the genre, even if that genre is barely known to English-speaking listeners due to some linguistic barriers, and its general obscurity outside of Japan. Their 1968 album Psychedelic Sounds in Japan is certainly the Mops LP that's gained the widest international exposure, as it's the one with the most garage-psychedelic style and has rewarded the efforts of avid collectors around the world. In fact, the Mops were even marketed as "the first psychedelic band in Japan" in their homeland, though as psychedelia goes, it's pretty raw, verging on garage-punk at times. In truth, it's more attractive for the crazed energy of the performances - and the odd juxtaposition of the earnestness of the singing and playing with the unhinged bent of the arrangements - than for the originality of the music…

Fresh and funky, female and Japanese, the trip-hop/rap duo Cibo Matto has been the recipient of a lot of hype. Fortunately, it's well-founded; all trendiness aside, Viva! La Woman is an innovative and catchy mix of eclectic samples and stream-of-consciousness lyrics. The likes of Paul Weller, Ennio Morricone, and Duke Ellington combine with observations like "My weight is three hundred pounds/My favorite is beef jerky" (from "Beef Jerky") and "Shut up and eat! You know my love is sweet!" from ("Birthday Cake") in a fun and refreshing way. The tone of the album varies with each song; on tracks like "Sugar Water" and "Artichoke," Cibo Matto plays it spooky and ethereal, while "Birthday Cake" and the single "Know Your Chicken" find them as a couple of cryptic Beastie Girls, tossing off wacky non sequiturs over found soundscapes. Cibo Matto cooks up a tasty appetizer of their talent with Viva! La Woman. Like their tongue-in-cheek cover of "The Candy Man," Cibo Matto makes everything they bake satisfying and delicious. A diverse and entertaining album, Viva! La Woman leaves the listener hungry for more of their crazy food for thought.