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Appearing at the right place at the right time, he opened the national scene to the wonders of Western techno pop, and for a while, became the unrivaled leader in J-pop heaven. All in all, the records he's had a hand in, as a producer or songwriter, have sold over 170 million copies in Japan, and millions more throughout the Far East. Moreover, Komuro became a superstar producer, known not just to people behind the scenes, but to the record-buying public at large, thanks to his carefully crafted image of a down-to-earth star collaborator coupled with glitterati aplomb. His reign ended in the late 2000s with a streak of misfortunes culminating in a fraud charge, but he managed to salvage his career and return to the stage, even if only as a shadow of his former self.\r\nBorn in 1958 in Tokyo, Komuro had been learning violin since pre-school, but in junior high, he discovered synthesizers and traded strings for keys -- literally, as he sold his guitar and violin to buy a Roland SH1000. He still attempted a normal career, entering the prestigious Waseda University (he majored in social studies), but he'd also been playing with Speedway since 1979, and in 1983, when he joined the techno-pop trio TM Network, his fate was sealed, as the band, later dubbed the \"J-pop prototype,\" had a successful run during the ‘80s, even if they didn't achieve superstardom. During that time, Komuro began to produce other artists, including Seiko Matsuda and Miho Nakayama. In 1988, he left TM Network and spent a year in England, soaking in the country's blooming rave scene. Returning to Japan in 1989, he worked as a solo artist and collaborated with Yoshiki, the vocalist of X-Japan, as V2, but didn't hit it off big and switched to producing. His first big project was TRF, or Tetsuya Komuro Rave Factory, established in 1992. The lineup included a female vocalist, a DJ, and three dancers; Komuro wrote the music for the band.\r\nTRF took Japan by storm, introducing the notion of techno-based pop, still a novelty at the time: the band's first two singles became million-sellers, and they shifted a total of 20 million units over the next six years. This was anything but accidental, as Komuro had painstakingly researched his prime audience, the club-going high school girls, concluding that they liked dancing and karaoke, so he gave them music fit for both. The distribution was handled by Avex, which effectively took control of the dance-pop musical market in Japan. TRF became the beginning of \"TK Family,\" which grew up to include, among others, Amuro Namie, the biggest pre-Ayumi Hamasaki pop idol in Japan, Miho Nakayama, Ryoko Shinohara, and Tomomi Kahala, Komuro's new girlfriend. For the most part, he remained the producer and songwriter, but he also played in the trio Globe, another best-selling dance-pop project of his.\r\nFor a while, Komuro was on top of the world. In April 1996, all of the Oricon Top Five entries were occupied with his projects -- a feat that no one had managed to pull before or since. He ranked high in the lists of Japan's top taxpayers, appeared in numerous award ceremonies where his \"Family\" triumphed, and in 1996, released the album TK Million Works consisting solely of the million-selling singles he produced. He began venturing into business, establishing TK News with Rupert Murdoch and creating the label Orumok Records (i.e. \"Komuro\" backwards), and tried to break into a Western audience, remixing the theme to the Speed 2 movie and writing \"Together Now,\" the theme song for the 1998 FIFA World Cup held in Japan and Korea, with Jean-Michel Jarre (they continued to collaborate until 2001). But trouble was ahead. The record label and his other business ventures failed, his CD sales dipped, and his romance with Kahala ended with her attempting suicide; the story promptly hit the media, generating a mighty publicity backlash.\r\nKomuro returned to business in the 2000s, producing Ami Suzuki and Kimeru, among others. He also managed to rope Yoshiki of X-Japan into Globe in 2002, though only for a short while, and established another record label, Rojam (\"Major\" backwards). But the new label fared no better than Orumok, his million-selling days were over, and, to top it off, his finances were a mess, thanks to a combination of business failures and alimony debts after a short-lived marriage. Komuro continued to perform with Globe, but in 2008, he was busted for fraud: it turned out that he sold the rights to his back catalog twice to different people, effectively swindling 500 million yen. It looked like the end of Komuro's career, but Max Matsuura, the head of Avex, covered the losses and damages, and Komuro, who fully admitted his guilt and apologized publicly, got off with a three-year suspended sentence in 2009. In February 2010, Komuro performed his solo comeback gig in Kumamoto. ~ Alexey Eremenko","isGroup":false,"bornOrFormed":"November 27, 1958","name":"Tetsuya Komuro","editorialArtwork":{"bannerUber":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features7/v4/2f/b9/39/2fb9397b-baca-6dcb-9542-16978ba5481b/source/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"111111","textColor2":"323232","textColor3":"404040","textColor4":"5b5b5b"}}}},{"id":"74567332","type":"artists","href":"/v1/catalog/us/artists/74567332?l=en-US","attributes":{"artwork":{"width":3471,"height":3471,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music114/v4/90/47/67/90476736-43aa-952a-7404-fa5089a28fe9/pr_source.png/{w}x{h}bb.jpeg","bgColor":"2d1e1b","textColor1":"e1afa0","textColor2":"d6a194","textColor3":"bd9286","textColor4":"b4877c"},"genreNames":["Rock"],"name":"Hotei","artistBio":"At age 14, Japanese guitarist Hotei was mesmerized by a poster of T. Rex’s Marc Bolan, which inspired him to purchase his first guitar.\n\n∙ Hotei cofounded the popular ’80s Japanese rock band BOØWY and was also one-half of the duo Complex.\n∙ Two of his albums have topped the Japanese charts—1991’s Guitarhythm 2 and 1996’s King & Queen—and he’s had multiple Top 10 singles, including 1995’s pop-rock chart-topper “Thrill.”\n∙ A massive British music fan, he performed “All the Young Dudes” live with David Bowie in 1996 and “Respectable” with the Rolling Stones in 2014.\n∙ He is also a noted film composer, contributing songs to 1998’s Fear And Loathing In Las Vegas and the theme for 2014’s Lupin the Third.\n∙ Quentin Tarantino selected Hotei’s dramatic, horn-heavy “Battle Without Honor or Humanity” to be heard before an epic fight scene in 2003’s Kill Bill Vol. 1.\n∙ 2015’s Strangers, his first internationally released album, featured guest vocals from his idol Iggy Pop, as well as members of Rammstein and Bullet for My Valentine.","url":"https://music.apple.com/us/artist/hotei/74567332","isGroup":false,"editorialArtwork":{}}},{"id":"888416224","type":"artists","href":"/v1/catalog/us/artists/888416224?l=en-US","attributes":{"artwork":{"width":659,"height":659,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/10/c1/32/10c1320a-45cc-3e7d-d10f-c2a4e9da17fc/pr_source.png/{w}x{h}bb.jpeg","bgColor":"1b1714","textColor1":"f4d1b3","textColor2":"d2bca3","textColor3":"c8ac93","textColor4":"ae9b87"},"genreNames":["Rock"],"name":"X","artistBio":"X Japan is one of the most influential rock bands in Japanese history. Formed as a speed metal band in the early '80s, the group attracted attention not only for its music, but also its popularization of visual kei, a cultural/musical/fashion movement whose emphasis on outrageous hairstyles and androgynous makeup was similar to glam rock. By the early '90s, X had also woven power ballads, pop, and classical music into the band's catalog, creating a sound that helped the group enter -- and, for several years, dominate -- the Japanese mainstream.\r\nBefore signing with a major label in 1988, X was one of the country's first independent acts to achieve national success. Childhood friends Yoshiki Hayashi (drums/keys) and Toshimitsu Deyama (vocalist/guitarist known as Toshi) formed the band as high-school students, and Yoshiki established his own label, Extasy Records, to release the group's material. With lead guitarist Hide (born Hideto Matsumoto), rhythm guitarist Pata (born Tomoaki Ishizuka), and bassist Taiji (born Taiji Sawada) filling out the lineup, X released several singles and one full-length album, 1988's Vanishing Vision, before signing with Sony toward the end of the decade. The group's major-label debut, Blue Blood, appeared in 1989.\r\nBlue Blood went multi-platinum on the strength of three hit singles. The band's follow-up effort, Jealousy, was similarly popular, becoming the 12th best-selling album of 1991 despite its mid-year release. With the intention of breaking into international markets, X lengthened its name to X Japan (a decision meant to distinguish the Japanese group from the similarly named American punk band) and signed a new contract with Atlantic Records. The guys also hired bass player Heath (born Hiroshi Morie) to replace the departing Taiji. Drawing from the classical background of Yoshiki -- who'd emerged as the band's leader -- X Japan returned in 1993 with Art of Life, a symphonic album consisting of one long, eclectic, 29-minute track. Yoshiki also released a second symphonic album in 1993, working with producer George Martin to produce classical arrangements of several X Japan songs. Released later that year, Eternal Melody became the best-selling classical record in Japanese history. Meanwhile, Hide, Heath, and Toshi all released their own solo discs, with Hide's Hide Your Face enjoying the most popularity.\r\nWhen X Japan returned in 1996 with Dahlia, the band both looked and sounded different. With the exception of Hide, who continued to favor the visual kei style, the musicians had largely abandoned the use of outrageous hairstyles and flashy costumes. They'd also pushed their sound into smoother territory, favoring ballads like \"Forever Love\" that highlighted Yoshiki's piano playing and Toshi's vocals over fast, furious rock songs. Even so, Dahlia proved to be one of X Japan's most popular albums to date; four singles topped the Japanese charts, and another song, \"Tears,\" peaked at number two. \r\nX Japan had become a national institution by the mid-'90s, but the band nevertheless pulled the plug in September 1997, with Toshi announcing his desire to leave the group and pursue music on a much simpler scale (a decade later, he revealed that he had actually gone bankrupt after being \"brainwashed\" by a cult). Several months later, the band held its farewell performance at the Tokyo Dome on New Year's Eve. \r\nIn the months that followed, Hide quietly emerged as the band's busiest alum, playing shows in support of his second solo release, Psyence, and even forming an American-based side project, Zilch, with members of Spread Beaver, Queens of the Stone Age, Killing Joke, and the Professionals. On May 2, 1998, Hide was found unconscious in his apartment and later died, the result of an apparent suicide. \r\nNearly ten years after Hide's death, X Japan began laying the foundation for a reunion. Former Luna Sea guitarist Sugizo, who'd helped popularize the visual kei movement alongside X Japan during the '90s, was brought aboard as the group's newest member, and the band began holding rehearsals in mid-2007. By the end of the year, they'd recorded a new song, \"I.V.,\" and an international tour followed. In 2010, during a two-night run in Japan's Nissan Stadium, the band briefly reunited with founding bassist Taiji, who passed away the following year after complications resulting from an attempted suicide. The band continued to tour the world and record new music, but a follow-up to Dahlia still hung in limbo.\r\nIn 2016, after years of continual delays, X Japan officially announced their sixth studio album and accompanying documentary, We Are X; however, in early 2016 Pata was rushed to the hospital for treatment of a severe blood clot, and although he was discharged, the album was again delayed. The documentary and its accompanying soundtrack saw release in 2017. We Are X debuted in the Top Five of the Oricon charts and broke into the U.K. Top 30, peaking at number one on the U.K. Rock & Metal Albums chart. To celebrate the release, X Japan premiered the film before performing a headlining show at Wembley Arena on March 4, 2017, 40 years after Yoshiki and Toshi joined forces with their first band in 1977. ~ Andrew Leahey","url":"https://music.apple.com/us/artist/x/888416224","editorialArtwork":{}}},{"id":"82625317","type":"artists","href":"/v1/catalog/us/artists/82625317?l=en-US","attributes":{"artwork":{"width":1200,"height":1200,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features114/v4/2f/b0/a3/2fb0a3af-3f56-093b-4958-af33cd505a65/mzl.dnqvfijt.jpg/{w}x{h}bb.jpeg","bgColor":"242d28","textColor1":"eddfce","textColor2":"e1cdb7","textColor3":"c4bcac","textColor4":"bbad9a"},"origin":"Osaka, Japan","url":"https://music.apple.com/us/artist/loudness/82625317","genreNames":["Hard Rock"],"artistBio":"By the time they were introduced to the West by 1985's Thunder in the East album, Japan's Loudness had arguably already hit their peak. Their previous effort, Disillusion, was the fourth chart-topping release in their homeland, not to mention a critical triumph among members of the European press. But when faced with a contingency plan to conquer America, Loudness were gradually forced to alter their sound by unsuitable producers and clueless record company hacks, never coming close to translating their Far East success into Western stardom. \r\nGuitarist Akira Takasaki and drummer Munetaka Higuchi first played together during the mid-'70s in a mainstream rock band called Lazy. Unhappy with the band's direction, the duo split and decided to follow in the footsteps of Bow Wow (the first ever Japanese heavy metal band), forming Loudness with vocalist Minoru Niihara and bass player Masayoshi Yamashita. Combining a classic metal approach with Takasaki's Eddie Van Halen-inspired guitar heroics, the band immediately scored local success with their first three albums, which were sung entirely in Japanese. But it wasn't until the release of their first live album, Live-Loud-Alive, and fourth studio effort, Disillusion, that the group attracted any significant attention outside their homeland, eventually issuing an English version of Disillusion.\r\nAtlantic Records soon came calling, and the band's international career began in earnest with 1985's Thunder in the East, which sold quite well in the U.S. for its novelty value, giving the band false hopes about their acceptance by Western metal audiences. Subsequent efforts Lightning Strikes and Hurricane Eyes were \"made to order\" records geared for the American market, and saw the band slowly drifting away from their roots toward a more commercial pop-metal sound. All to no avail, and after recording 1988's independently released Jealousy, the classic lineup's glory years came to an end with the firing of Niihara and the arrival of American-born singer Mike Vescera for 1989's Soldier of Fortune. Released in 1991, the disappointing On the Prowl saw them resort to re-recording watered-down versions of some of their Japan-only material and would be the last to feature Vescera, who briefly joined the temperamental Yngwie Malmsteen's band.\r\nYamada Masaki, from rival Japanese metal band EZO, was brought in for Loudness' 1992 self-titled effort, 1994's Heavy Metal Hippies, and 1997's Ghetto Machine. The latter saw the band's longtime rhythm section being replaced by bassist Shibata Naoto and drummer Homma Hirotsugu. This lineup recorded two more albums, 1998's Dragon and 1999's Engine, after which Takasaki welcomed back the original members for 2001's Spiritual Canoe. Originally intended as a one-time event to celebrate the group's 20th anniversary, the reunion proved so popular in Japan that the newly reunified Loudness continued to perform and record, releasing a slew of studio albums, including Pandemonium (2001), Biosphere (2002), Terror (2004), Racing (2004), Breaking the Taboo (2006), and Metal Mad (2008). \r\nTragedy struck in 2006 with the death of original bassist Hiroyuki Tanaka from heart failure, and again two years later when drummer Munetaka Higuchi passed away after battling liver cancer. New drummer Masayuki Suzuki joined the group for 2009's The Everlasting. King of Pain was released in 2010, with Eve to Dawn dropping in 2011 and the Ronnie James Dio-dedicated 2012 issued the following year. The band's 26th studio long-player, The Sun Will Rise Again, was released in 2014, with Rise to Glory arriving in 2018. ~ Eduardo Rivadavia","isGroup":true,"bornOrFormed":"1981","name":"Loudness","editorialArtwork":{}}},{"id":"155832177","type":"artists","href":"/v1/catalog/us/artists/155832177?l=en-US","attributes":{"artwork":{"width":553,"height":553,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/63/0e/f4/630ef472-b463-7012-636f-1e86a811e3d3/pr_source.png/{w}x{h}bb.jpeg","bgColor":"2e1411","textColor1":"ed944c","textColor2":"eb812f","textColor3":"c77a41","textColor4":"c56b29"},"genreNames":["J-Pop"],"name":"Godiego","url":"https://music.apple.com/us/artist/godiego/155832177","isGroup":true,"editorialArtwork":{}}},{"id":"172034983","type":"artists","href":"/v1/catalog/us/artists/172034983?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features114/v4/a3/a3/6d/a3a36dd8-eaab-1486-d90f-0a4ff1e649c8/mzl.xtlgsyfz.png/{w}x{h}bb.jpeg","bgColor":"90b2d7","textColor1":"0a090b","textColor2":"31211c","textColor3":"252b34","textColor4":"443e42"},"genreNames":["J-Pop"],"name":"Sugiyama Kiyotaka","url":"https://music.apple.com/us/artist/sugiyama-kiyotaka/172034983","isGroup":false,"editorialArtwork":{}}},{"id":"307535935","type":"artists","href":"/v1/catalog/us/artists/307535935?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features114/v4/b5/6e/d1/b56ed11a-0ff4-7cb7-4865-842265133964/mzl.oqsdsxzb.jpg/{w}x{h}bb.jpeg","bgColor":"f7f6fb","textColor1":"110909","textColor2":"1d1e1f","textColor3":"3f383a","textColor4":"49494b"},"genreNames":["J-Pop"],"name":"Misato Watanabe","artistBio":"","url":"https://music.apple.com/us/artist/misato-watanabe/307535935","isGroup":false,"editorialArtwork":{}}}]},"appears-on-albums":{"href":"/v1/catalog/us/artists/377368802/view/appears-on-albums?l=en-US","attributes":{"title":"Appears On"},"data":[]},"top-music-videos":{"href":"/v1/catalog/us/artists/377368802/view/top-music-videos?l=en-US","attributes":{"title":"Top Videos"},"data":[]},"playlists":{"href":"/v1/catalog/us/artists/377368802/view/playlists?l=en-US","attributes":{"title":"Artist Playlists"},"data":[]},"compilation-albums":{"href":"/v1/catalog/us/artists/377368802/view/compilation-albums?l=en-US","attributes":{"title":"Compilations"},"data":[]},"singles":{"href":"/v1/catalog/us/artists/377368802/view/singles?l=en-US","attributes":{"title":"Singles & EPs"},"data":[{"id":"938757577","type":"albums","href":"/v1/catalog/us/albums/938757577?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music3/v4/41/72/40/417240f5-c52c-faa4-bb44-ba8405377517/889176158278.jpg/{w}x{h}bb.jpeg","bgColor":"3f0821","textColor1":"cd9fe0","textColor2":"f7865a","textColor3":"b181ba","textColor4":"d26d4e"},"artistName":"KODOMO BAND","url":"https://music.apple.com/us/album/heart-madness-reboot-version-dry-your-tears-reboot/938757577","trackCount":4,"releaseDate":"2014-11-26","name":"Heart of Madness (Reboot Version)/Dry Your Tears [Reboot Version] - EP","artistUrl":"https://music.apple.com/us/artist/kodomo-band/377368802","editorialArtwork":{},"playParams":{"id":"938757577","kind":"album"}}}]},"full-albums":{"href":"/v1/catalog/us/artists/377368802/view/full-albums?l=en-US","attributes":{"title":"Albums"},"data":[]}},"meta":{"views":{"order":["featured-release","latest-release","top-songs","featured-albums","full-albums","top-music-videos","playlists","singles","live-albums","compilation-albums","appears-on-albums","similar-artists"]}}}]}