Shibuya Kei is more than just a genre. It has been a movement representing Japan for the last millennium years. Yasuharu Konishi, the lead of Pizzicato Five, once stated, #34;Shibuya in the #39;90s is just like Haight-Ashbury in the #39;60s #34;. It was the epicenter of cool for young people in Japan. The largely independent bands and singers these trendsetters favored soon found themselves grouped in a genre known as #34;Shibuya-kei #34; – translated as Shibuya style. Whereas most American and British bands of the era were monolithic in pursuing a nearly singular mode of expression, Shibuya-kei acts were willfully impure and eclectic. Pioneers like Pizzicato Five and Flipper #39;s Guitar flitted from jazz to pop, soul to rock, bossa nova, and noise. Their all-embracing ways filtered down to their similarly diverse followers. The scene soon went international: Cornelius, Buffalo Daughter, Fantastic Plastic Machine, Kahimi Karie, Takako Minekawa, and their Japanese-American kin Cibo Matto and Deee-Lite #39;s Tōwa Tei all scored US releases. This is the wonderful hues of Shibuya Kei