The towering international reputation of Toru Takemitsu has dominated the West's perceptions of contemporary Japanese music, a situation resulting in the relative neglect of other worthy composers. This phenomenon has parallels in other countries, such as France, where Boulez's and Messiaen's overshadowing reputations were factors in the delayed international recognition of Barraqué and Ohana. Accordingly, various important composers who have established significant profiles within Japan during the last 40 years have struggled to achieve attention beyond Asian borders. Some have established cult reputations within contemporary music circles, but more widespread recognition through recordings has been compromised by limited Western distribution of the two Japanese labels that have promoted the post-Takemitsu generations: Camerata and Fontec. Fortunately, the websites for these labels have provided an opportunity for curious Westerners to directly purchase much important music that is ripe for discovery in Western concert halls. Another positive development is the recent release of European recordings of important new Japanese works.