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.

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.

Anri (杏里), real name Eiko Kawashima (川嶋 栄子, Kawashima Eiko) (born August 31, 1961), is a Japanese pop singer-songwriter. Her debut release was the 1978 Oribia o Kikinagara (While Listening to Olivia), written by Amii Ozaki. Her song "Cat's Eye" was used as the first opening theme for the eponymous 1983 anime series Cat's Eye and debuted as #1 on Countdown Japan.

Toru Takemitsu - Complete Takemitsu Edition (2002) {Shogakukan ‎STZ 1~58, 5 Volumes}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 14.6 Gb | MP3 @320 -> 8.85 Gb
Full Artwork (pdf) -> 785 Mb | 5% repair rar
© 2002 Shogakukan ‎| STZ 1~58
Classical / Contemporary Classical / Avant-Garde / Film Score / Modern Composition / Japanese

Toru Takemitsu (1931-1996) was a self-taught Japanese composer who combined elements of Eastern and Western music and philosophy to create a unique sound world. Some of his early influences were the sonorities of Debussy, and Messiaen's use of nature imagery and modal scales. There is a certain influence of Webern in Takemitsu's use of silence, and Cage in his compositional philosophy, but his overall style is uniquely his own. Takemitsu believed in music as a means of ordering or contextualizing everyday sound in order to make it meaningful or comprehensible.