American pop music went international long ago, but countries around the world have still elected to nourish their own pop stars to compete with the constant infusion of the Top 40. From Cuba to Australia, Russia to France, Canada to China, unknown (to American ears) indigenous pop stars rub shoulders on the radio with the usual suspects. Case in point: A few years ago, England boosted a flatulent TV-star dinosaur named Blobby to the top of the charts, unbeknownst to the rest of the oblivious world, which continued to worship Madonna and Michael Jackson. Japan, a wealthy and free nation, has perhaps been most responsive to the very American notion of pop stardom, and most receptive to the influence of Elvis and all subsequent things rock 'n' roll. With music ranging from the Ramones-rock of Shonen Knife to the electro-lounge music of Pizzicato Five, to the racket of Ruins, Japan's pop scene is vibrant and diverse. Kahimi Karie, like her former boyfriend Cornelius, is a superstar in her native country, playing music that xenophobic American radio wouldn't touch. Karie and her collaborators Cornelius (Keigo Oyamada) and Momus (stylish Scottish fop Nick Currie) have been racking up hits in Japan, yet her self-titled collection is the first most Americans will hear of her. Karie possesses a little-girl voice that goes well with her campy songs, and the Momus-penned "Good Morning World" and "Lolitapop Dollhouse" ooze a sickly sexuality that Currie's own versions don't quite offer. The Japanese may be a bunch of pervs for buying up these Serge Gainsbourg-derived ditties, but the Americans are a bunch of prudes. Here's to Karie knocking down walls with her precious and perplexing Shibuya-kei pop.