For anyone interested in "world music," gigs in Japan have been comparatively thin on the ground during the last five years or so, compared to the first years of the '90s. This is a situation that is perhaps set to change.

Sony Urban Entertainment is behind a new "entertainment center" called Mediage in Tokyo Bay's Odaiba. Due to open in April, Mediage will include a restaurant/concert venue with the incredible name of "Tribute to the Love Generation."

They are promising to present predominantly world music musicians, along the lines of the Blue Note jazz restaurant with artists playing two sets a night, during short residences. Unfortunately, this will also mean a sit-down dinner and a high cover charge. There are echoes of the "bubble" years in the idea, but I'll reserve judgment for now. (Details of the opening schedule in a future column.)

One type of music that has found a regular live audience has been Celtic music, due partly to the efforts of promoter Plankton. The good news is that Plankton will be diverging more into other world music this year. News of this too, nearer the dates.

Of all the Celtic artists who have benefited from the music's popularity in Japan, Anam has perhaps the strongest ties. The group is signed directly to a Japanese record label.

About five years ago, JVC Victor Entertainment asked me to recommend an unsigned artist to them. On a trip to Ireland I picked up a compilation album of young, mainly unknown artists that included Anam, who seemed to have the potential JVC was seeking. Anam not only plays traditional music with gusto, but writes original tunes and songs.

The original idea was to release the group's CDs around the world, and have the group touring worldwide. For the most part, that original idea has been realized. Anam has now recorded three albums, the latest "Tine Gheall/Bright Fire" being released this month. Anam will be in Japan for their third visit early next month.

Since their first album for JVC, "First Footing," in 1996, the band has been through a number of personnel changes. Now based in Scotland, only singer, guitarist and principle songwriter Brian OhEadhra (pronounced Bree-an Ohhara) survives from the original line-up. He, however, sees the members constantly evolving as a positive thing.

"It is important to keep the band healthy with new members and ideas. It is the nature of bands that members will come and go. They usually know when the time is right to leave for themselves. Usually it is because they want to settle down a bit to have a more regular lifestyle. It is hard being on the road a lot and living on the edge, often not knowing what you will be doing from month to month."

The most important change has been the replacement of singer and bodhran (frame drum) player Aimee Leonard with Fiona MacKenzie.

"Fiona is a very different singer from Aimee," says OhEadhra. "Fiona is from the Scottish Gaelic tradition and has mostly sung in that tongue. She also writes wonderful songs in English and Gaelic. This adds a new edge to the songs in the band."

The group has added a fiddle player, Anna Wendy Stevenson, and after the last album was recorded, Irish accordionist Treasa Harkin left to be replaced by Englishman Tim Edey.

"Anna Wendy is great for Anam as she brings the fiddle back to the Anam sound. She plays mostly Scottish tunes but is adept at other Celtic styles as well. Tim is quite a different accordion player from Treasa. He is very dexterous and fast on the keys. He can play any style and is interested in improvisation of tunes. He also plays amazing guitar."

The fifth member is another Englishman, Neil Davey. Although he hails from Cornwall, he is also steeped in the Celtic tradition. Davey plays bouzouki and mandolin and writes many of the group's tunes.

With the record company likely to be concerned about constant changes, fortunately OhEadhra seems satisfied with the current line-up.

"The sound is perfect at present, but we are always looking to incorporate new ideas," he says.

As was their second album, "Riptide," the new album was produced by Calum Malcolm, who has worked with many of Scotland's finest musicians, including Capercaillie, Prefab Sprout, the Blue Nile and Wet Wet Wet.

"We decided to follow the same recipe as before. A mixture of old and new tunes and songs. Though we did experiment a bit more with other ethnic music which comes out in the tracks 'Tine Gheall' and 'In O,' " says OhEadhra.

Anam has been the center of much attention from the music press. Almost invariably, any journalist is curious about them being signed to a Japanese company.

"Every record label has its good and bad points," says OhEadhra. "JVC have been very good for us financially and in licensing us to various record companies around the world. Sometimes communication is difficult when you are on the other side of the globe from the record company, but usually we sort things out eventually. And, we love playing in Japan."