Junko Sakurada is a Japanese singer and actress. She was part of a music trio in 1973, which included Momoe Yamaguchi and Masako Mori.

Japanese singer who blends jazz and pop in her songs. Debuted in 2012 with her single Watashi no Pistol.

Get ready to jump on your chair, dear ‘progsters’, because we can not imagine any different reaction upon hearing The Winstons’ debut record, a 100% Italian trio despite their name and the kind of music here proposed. Their genre in itself is hard to classify, but that definitely has its reference point the in the Canterbury progressive rock scene and in artists such as Soft Machine, Gong, Caravan, Henry Cow, Kevin Ayers and so on.
This is a power trio of multi-instrumentalists who hide under the pseudonyms Linnon Winston, Rob Winston and Enro Winston, but that are, surprisingly, three well known characters of the Italian indie-rock panorama; their real identities are, respectively, Lino Gitto, a constant presence in multiple releases and events of the Milan scene, Roberto Dell'Era, best known as the bass player in Afterhours, and Enrico Gabrielli from Calibro 35, Mariposa and Der Maurer…

Best Selection captures great moments of Yellow Magic Orchestra during their golden period, between 1978 and 1981. The record is also a good way to discover the band as it is mainly composed of two parts: the first one is consecrated to punchy synth pop tracks from their first albums of the 70s, whereas the second part is dedicated to their darker 80s' cold wave pieces.

Ryuichi Sakamoto, one of the pioneering figures of Japanese electronic music, demonstrates his versatility on this change-of-pace album. Released in 2004, 04 is dominated by Sakamoto's prowess on the acoustic piano, and features excerpts from several of his scores for motion pictures (including his music for Merry Christmas, Mr. Lawrence), television commercials (such as a campaign for Louis Vuitton), and video games ("Seven Samurai: Ending Theme" was composed for the PS2 game Seven Samurai 20XX).

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.