Tolerance
Anonym
Boomkat Product Review:
First official reissue of a legendary Japanese dream sequence projected by Junko Tange and Masami Yoshikawa in 1979 on Vanity Records and now trading for £600+ on the 2nd hand market. Junko Tange, an "unassuming dental nurse" is undoubtedly one of the most mysterious, pioneering and under-recognised women in the advancement of electronic music of the late 70’s and early 80’s, so this reissue (and it’s companion piece ‘Divin’ - also out this week) - should hopefully bring her work to the attention of a new generatuon of listeners.
Osaka’s Junko Tange fused dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on this singular debut recording. Over the years it has formed part of official boxset reissues with the Kyou and V-O-D labels, but this is its maiden stand-alone reissue and showcases Junko’s quietly unnerving style of electro-acoustic, avant-lounge jazz that quietly reserves the right to sting nerves with hypnic jerks of atonality. It’s one of those records that most palpably evokes the Lynchian sensation of inhabiting someone else’s dreams, replete with the feeling that you probably shouldn’t be there, even if you can’t tear yourself away.
In that sense, Tolerance feels like a more dazed adjunct to Phew, whose debut was issued a couple of years after ‘Anonym’, or in the modern day with Laila Sakini’s poetic chamber-pop inceptions, but it’s fair to say that this album placed Junko completely out on her own in 1979. Nonetheless, If you’re looking for reference points, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and recalls the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’. CC Hennix’s avant-jazz tunings come to mind on ‘I wanna be a homicide’, as well as the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’.
Ultimately. it seems clear that Junko Tange was basically just following her nose to express a strangeness of being that still hits and snags the nerves like little else, some 44 years later.
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Boomkat Product Review:
First official reissue of a legendary Japanese dream sequence projected by Junko Tange and Masami Yoshikawa in 1979 on Vanity Records and now trading for £600+ on the 2nd hand market. Junko Tange, an "unassuming dental nurse" is undoubtedly one of the most mysterious, pioneering and under-recognised women in the advancement of electronic music of the late 70’s and early 80’s, so this reissue (and it’s companion piece ‘Divin’ - also out this week) - should hopefully bring her work to the attention of a new generatuon of listeners.
Osaka’s Junko Tange fused dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on this singular debut recording. Over the years it has formed part of official boxset reissues with the Kyou and V-O-D labels, but this is its maiden stand-alone reissue and showcases Junko’s quietly unnerving style of electro-acoustic, avant-lounge jazz that quietly reserves the right to sting nerves with hypnic jerks of atonality. It’s one of those records that most palpably evokes the Lynchian sensation of inhabiting someone else’s dreams, replete with the feeling that you probably shouldn’t be there, even if you can’t tear yourself away.
In that sense, Tolerance feels like a more dazed adjunct to Phew, whose debut was issued a couple of years after ‘Anonym’, or in the modern day with Laila Sakini’s poetic chamber-pop inceptions, but it’s fair to say that this album placed Junko completely out on her own in 1979. Nonetheless, If you’re looking for reference points, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and recalls the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’. CC Hennix’s avant-jazz tunings come to mind on ‘I wanna be a homicide’, as well as the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’.
Ultimately. it seems clear that Junko Tange was basically just following her nose to express a strangeness of being that still hits and snags the nerves like little else, some 44 years later.
Boomkat Product Review:
First official reissue of a legendary Japanese dream sequence projected by Junko Tange and Masami Yoshikawa in 1979 on Vanity Records and now trading for £600+ on the 2nd hand market. Junko Tange, an "unassuming dental nurse" is undoubtedly one of the most mysterious, pioneering and under-recognised women in the advancement of electronic music of the late 70’s and early 80’s, so this reissue (and it’s companion piece ‘Divin’ - also out this week) - should hopefully bring her work to the attention of a new generatuon of listeners.
Osaka’s Junko Tange fused dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on this singular debut recording. Over the years it has formed part of official boxset reissues with the Kyou and V-O-D labels, but this is its maiden stand-alone reissue and showcases Junko’s quietly unnerving style of electro-acoustic, avant-lounge jazz that quietly reserves the right to sting nerves with hypnic jerks of atonality. It’s one of those records that most palpably evokes the Lynchian sensation of inhabiting someone else’s dreams, replete with the feeling that you probably shouldn’t be there, even if you can’t tear yourself away.
In that sense, Tolerance feels like a more dazed adjunct to Phew, whose debut was issued a couple of years after ‘Anonym’, or in the modern day with Laila Sakini’s poetic chamber-pop inceptions, but it’s fair to say that this album placed Junko completely out on her own in 1979. Nonetheless, If you’re looking for reference points, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and recalls the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’. CC Hennix’s avant-jazz tunings come to mind on ‘I wanna be a homicide’, as well as the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’.
Ultimately. it seems clear that Junko Tange was basically just following her nose to express a strangeness of being that still hits and snags the nerves like little else, some 44 years later.
Boomkat Product Review:
First official reissue of a legendary Japanese dream sequence projected by Junko Tange and Masami Yoshikawa in 1979 on Vanity Records and now trading for £600+ on the 2nd hand market. Junko Tange, an "unassuming dental nurse" is undoubtedly one of the most mysterious, pioneering and under-recognised women in the advancement of electronic music of the late 70’s and early 80’s, so this reissue (and it’s companion piece ‘Divin’ - also out this week) - should hopefully bring her work to the attention of a new generatuon of listeners.
Osaka’s Junko Tange fused dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on this singular debut recording. Over the years it has formed part of official boxset reissues with the Kyou and V-O-D labels, but this is its maiden stand-alone reissue and showcases Junko’s quietly unnerving style of electro-acoustic, avant-lounge jazz that quietly reserves the right to sting nerves with hypnic jerks of atonality. It’s one of those records that most palpably evokes the Lynchian sensation of inhabiting someone else’s dreams, replete with the feeling that you probably shouldn’t be there, even if you can’t tear yourself away.
In that sense, Tolerance feels like a more dazed adjunct to Phew, whose debut was issued a couple of years after ‘Anonym’, or in the modern day with Laila Sakini’s poetic chamber-pop inceptions, but it’s fair to say that this album placed Junko completely out on her own in 1979. Nonetheless, If you’re looking for reference points, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and recalls the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’. CC Hennix’s avant-jazz tunings come to mind on ‘I wanna be a homicide’, as well as the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’.
Ultimately. it seems clear that Junko Tange was basically just following her nose to express a strangeness of being that still hits and snags the nerves like little else, some 44 years later.
In Stock (Ready To Ship)
Back in stock. Re-press packaged in an old school, tip-on sleeve. Remastered from new transfers of the original analog tapes by Stephan Mathieu.
Boomkat Product Review:
First official reissue of a legendary Japanese dream sequence projected by Junko Tange and Masami Yoshikawa in 1979 on Vanity Records and now trading for £600+ on the 2nd hand market. Junko Tange, an "unassuming dental nurse" is undoubtedly one of the most mysterious, pioneering and under-recognised women in the advancement of electronic music of the late 70’s and early 80’s, so this reissue (and it’s companion piece ‘Divin’ - also out this week) - should hopefully bring her work to the attention of a new generatuon of listeners.
Osaka’s Junko Tange fused dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on this singular debut recording. Over the years it has formed part of official boxset reissues with the Kyou and V-O-D labels, but this is its maiden stand-alone reissue and showcases Junko’s quietly unnerving style of electro-acoustic, avant-lounge jazz that quietly reserves the right to sting nerves with hypnic jerks of atonality. It’s one of those records that most palpably evokes the Lynchian sensation of inhabiting someone else’s dreams, replete with the feeling that you probably shouldn’t be there, even if you can’t tear yourself away.
In that sense, Tolerance feels like a more dazed adjunct to Phew, whose debut was issued a couple of years after ‘Anonym’, or in the modern day with Laila Sakini’s poetic chamber-pop inceptions, but it’s fair to say that this album placed Junko completely out on her own in 1979. Nonetheless, If you’re looking for reference points, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and recalls the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’. CC Hennix’s avant-jazz tunings come to mind on ‘I wanna be a homicide’, as well as the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’.
Ultimately. it seems clear that Junko Tange was basically just following her nose to express a strangeness of being that still hits and snags the nerves like little else, some 44 years later.
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