Anode/Cathode
Punkanachrock
Boomkat Product Review:
Whew! Wildly ahead-of-its-time no wave electro punk noise from Japan, 1981, returns to circulation, b/w previously unreleased tackle from the band’s archives - 100% RIYL Tolerance, Mars, Vanity Records!
First issued in 1981 - but containing material made as far back as 1975-’77 - the first vinyl reissue of Anode/Cathode’s ‘Punkanachrock’ is a uniquely prescient example of ‘70s/‘80s Japanese DIY counterculture and the extended actions of Fifth Column; a notoriously secretive, near-mythical unit said to revolve Yoshiaki Kinno, aka Onnyk, whose work is strewn across Insane Music and Vanity Records, and appeared recently as part of the Vanity Records boxsets with V-O-D.
As Anarkiss, Kinno is responsible for compiling this rare insight to the underbelly of ‘70s Japan, representing a missing link between the weirdest psych scuzz, machine-made prototypes, free jazz and no wave noise. In historic context, we can only imagine how radical this music would have sounded to the few who owned a copy, ‘cos it still sounds properly outlandish, misshapen and barely hinged now, nearly 50 years since some of it was first realised.
We could possibly attribute Anode/Cathode’s outré oddness to their relative detachment, located in Morioka, far from Japan’s futuristic power centres. Over the 16’ of music from the OG 7”, and additional 10’ on the bonus, we hear Yoshiaki Kinno and co following their noses for a sort of sinuous scuzz that, if the timelines are correct, predates or parallels developments towards groove-driven atonality in NYC, Europe or the UK. In the OG, we’re treated to something like a mashed up Lee Perry meets Keiji Haino on ‘tao mao pal, rub tub dub’, beside the Merzbow levels of polychromatic noise in ‘Untitled 1’, and what sounds like feral cats pawing buttons on ‘man in the moon’, whilst a 2nd half shells white hot free jazz shred in ‘collapsed funk’, pure atonal blister on another untitled bit, and shores up in ‘interview: next question, please’, which feels like a cartoon theme played underwater, vocals piped in from fuck knows where.
Trust heads will be blown clean off - this is certifiably bonkers in the best way.
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Last copies - Limited edition 2x7" with bubble wrap outer sleeve. All transferred and mastered with the blessing of the original musicians.
Out of Stock
Boomkat Product Review:
Whew! Wildly ahead-of-its-time no wave electro punk noise from Japan, 1981, returns to circulation, b/w previously unreleased tackle from the band’s archives - 100% RIYL Tolerance, Mars, Vanity Records!
First issued in 1981 - but containing material made as far back as 1975-’77 - the first vinyl reissue of Anode/Cathode’s ‘Punkanachrock’ is a uniquely prescient example of ‘70s/‘80s Japanese DIY counterculture and the extended actions of Fifth Column; a notoriously secretive, near-mythical unit said to revolve Yoshiaki Kinno, aka Onnyk, whose work is strewn across Insane Music and Vanity Records, and appeared recently as part of the Vanity Records boxsets with V-O-D.
As Anarkiss, Kinno is responsible for compiling this rare insight to the underbelly of ‘70s Japan, representing a missing link between the weirdest psych scuzz, machine-made prototypes, free jazz and no wave noise. In historic context, we can only imagine how radical this music would have sounded to the few who owned a copy, ‘cos it still sounds properly outlandish, misshapen and barely hinged now, nearly 50 years since some of it was first realised.
We could possibly attribute Anode/Cathode’s outré oddness to their relative detachment, located in Morioka, far from Japan’s futuristic power centres. Over the 16’ of music from the OG 7”, and additional 10’ on the bonus, we hear Yoshiaki Kinno and co following their noses for a sort of sinuous scuzz that, if the timelines are correct, predates or parallels developments towards groove-driven atonality in NYC, Europe or the UK. In the OG, we’re treated to something like a mashed up Lee Perry meets Keiji Haino on ‘tao mao pal, rub tub dub’, beside the Merzbow levels of polychromatic noise in ‘Untitled 1’, and what sounds like feral cats pawing buttons on ‘man in the moon’, whilst a 2nd half shells white hot free jazz shred in ‘collapsed funk’, pure atonal blister on another untitled bit, and shores up in ‘interview: next question, please’, which feels like a cartoon theme played underwater, vocals piped in from fuck knows where.
Trust heads will be blown clean off - this is certifiably bonkers in the best way.
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