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.
Osaka’s Tolerance usher dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on their 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 showcasing Junko Tange’s quietly unnerving style of electro-acoustic, country-folk and avant-lounge jazz shadowplay 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 one maybe shouldn’t be there, but we’ll certainly stick around to see what happens.
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 very fair to say that this album placed her out on her own in 1979. OK, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and even the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’, or even CC Hennix’ avant-jazz tunings in ‘I wanna be a homicide’, and the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’; however it’s unlikely that she was aware of any of them, and more likely following her nose to express a strangeness of being personal to her existence, but coincidentally resonating nuanced, ambiguous feelings for the ages that still hit and snag the nerves like little else, some 44 years later.
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Packaged in an old school, tip-on sleeve.
Estimated Release Date: 28 April 2023
Please note that shipping dates for pre-orders are estimated and are subject to change
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.
Osaka’s Tolerance usher dadaist lyrics with webs of guitar, piano and electronics into a waking dream procession on their 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 showcasing Junko Tange’s quietly unnerving style of electro-acoustic, country-folk and avant-lounge jazz shadowplay 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 one maybe shouldn’t be there, but we’ll certainly stick around to see what happens.
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 very fair to say that this album placed her out on her own in 1979. OK, it shares psychedelic proprioceptions with Basquiat’s Gray works of ’79 in the echoic sashay of ‘JUIN-Irénée’, and even the wilted wonder of Jandek, who would also emerge around the same time, on ‘laughiñ in the shadows’, or even CC Hennix’ avant-jazz tunings in ‘I wanna be a homicide’, and the enigma of Two Daughters in ‘tecno-room’, or From Nursery to Misery in the dessicated lo-fi pulse of ‘through the glass’; however it’s unlikely that she was aware of any of them, and more likely following her nose to express a strangeness of being personal to her existence, but coincidentally resonating nuanced, ambiguous feelings for the ages that still hit and snag the nerves like little else, some 44 years later.