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9 Aug 2017

Tolerance "Anonym" 1979 Japan Electronic,Experimental,Minimal







Tolerance "Anonym" 1979 ultra rare  Japan Electronic,Experimental,Minimal

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The sound of this artist duo (Junko Tange and Masami Yoshikawa) from Tokyo was abstract and monolithic, using electronics, guitar, piano, and vocal. Nurse With Wound supposedly took the phrase, “To The Quiet Men From A Tiny Girl,” from this album sleeve for the title of their second album...................

Tolerance were a mysterious Japanese duo consisting of Junko Tange on voice, synth, and piano and Masami Yoshikawa on guitar. There's a good chance both performed on other electronics too. For this, their first LP, Tolerance created an absolute masterpiece of minimal electronic atmospherics. The guitars alone cover a large variety of styles, ranging from gentle sliding to folky noodling to full-on skronk. The accompanying sounds also manage to cover quite a range, while all being decidedly experimental. Spoken female vocals (which seem to be in French!) mix in effortlessly with strange electronic rhythms and gentle Satie-esque piano, creating a unique sound. The electronics used truly aren't easy to identify, and may even be homemade. Each track is excellent, and they have some truly odd and interesting names. "I Wanna Be A Homicide", "Laughin In The Shadows", "Tecno-Room"... really, the song titles alone should tell you this is great! This could even be considered Japan's krautrock album! Loose comparisons to such other visionaries as the Sperm and Moolah can be made, and this definitely holds a place as one of those truly unusual albums that every serious avant-gardist should hear. They went on to record another album, DIVIN, which is almost as good... ......

Tolerance were the only group to release two LPs on Vanity. This album really bridges the gap between the 70's & 80's. Starting off with hazy trips resembling the cosmic realm of krautrock and following through to more experimental diy thats sits aside the output of Sema and early Nurse with Wound.................

 Vanity Records only existed for a few years (from 1979 until 1981). During their truncated tenure, they put out some LPs, a handful of flexi-discs, and finally some spectacular cassettes of Japanese proto-techno/industrial/"minimal synth" madness by artists who, for the most part, never made any other records. One of the finest gems from their gem-heavy catalog were the two LPs by Tolerance. "Anonym", from 1979, is a classic LP by a band that only released two albums and a flexi, all on Vanity Records, then promptly decided that they had better things to do. I can't tell you anything more about them because (like most of the artists Vanity would briefly shine a light on) aside from these three releases, they left virtually no trace. Did the band members form other bands afterwards? Who knows?

This album shares some superficial qualities with contemporaries TG and Nocturnal Emissions (stark production, low-fidelity murk, machine rhythms) but also somehow evoke the late-night hush of Young Marble Giants on heavy xanax. If you aren't sure what to make of this one, then you are comfortably in the majority. Oh, but just you wait... because the record they made a year later is even better and further out then this one. Fans of the Zero Gravity and Sonic Plate/Far East Experimental Sounds labels take note!....................

"Yikes! This is not a record: it's a ticket pressed in 12" format to get the f- outta this modern era of derivative nonsense in no time flat and get shotgun-expressed into a eerie world of risk taking/PHD-styled lessons in underground experimental extravagance par excellence. Yuzuru Agi's Vanity label delivers the same spinal-tingle-stun-upon-utterance with the same sting as heavyweight/uber strange underground labels like Artifacts, Silver Key, Yetti Wordless, Palace of Lights, Plat-Num Productions, or the gem of Florida's rotten improv scene Spitball Records. Vanity is the sounds in the wild that will exist w/o an audience and make NADA sense, and even less as the flat circle of time moves onward to the future. Even being a major critic in the 'Rock Magazine' and coining the words 'Techno Pop' -- the addictive & lustful Agi's Vanity world has is a hushed jewel in the big-cash phallic swinging underground detectives-types. Reissues are scarce -- the 'boot' of the second Tolerance LP from a couple years ago came and went w/o much of a ceremony -- but this debut (the fourth release of the label landing on 1979) by the Masami Yoshikawa & Junko (no that JUNKO silly willy) Tange is a more wild, varied and EXPERIMENTAL slab to grind on and all the better for it. What lies inside? Lots of nearly ECM-ish acoustic flourishes over effected guitar no wave-ish (scratch that lets say the more equivalent to Japan's own voice-grated guitar duo NOISE-ish) stew of things, sounding more like random Dada-esque experiments in texture and rhythm in a sleek urban-mystery cannon that really makes your brow take some kinda action. It sounds more akin to a Dilaudid-dosed Keith Jarrett trying his best to play along to some crude Thomas Brinkmann record cutting-beat discs, while Law & Order's Brisco and Logan aggressively questioning a dog that swallowed a guitar played by a barbwire criminal (cause 'I WANNA BE A HOMICIDE too@!!') harrowing away in a distant concrete slab. Might as well have Murakami's crew of suave editors from 1Q84 transcribe the unholy soundtrack from Japanese to whatever language your ears need it to be, all while standing in the 'sweet water' that Elisa Lam's decomposing body sunk into it from days lost hidden and rotting in a rooftop hotel pool. Who DOESN'T want to hear that?? The Tolerance debut is just plain O.D.D. = Occidental Dome-Damaged. All said and done, this is from a golden day where risks were taken and experimental music stroked the esoteric exotic fires of danger and lust, all while basking in the outsider glow of idiosyncratic glee. Take chances and be yourself, the evidence is all right here persevered for in the confusing grooves of Anonym. Take it from this VAIN JIT -- it's about the best time you are spend getting 'real' -- REAL STRANGE. And that is R.A.R.E. = Recycled Assumptions Re-Qualified as Extraterrestrials." --John Olson, last minutes of 2014, winter..............

Vanity was a legendary Osaka-based underground label from the late 70s/early 80s. They released albums of primitive electronics by the likes of Aunt Sally, Sympathy Nervous, Dada, Sab, BGM, etc. None have been officially reissued (besides the first Aunt Sally I guess) and the original LPs have been basically unfindable anywhere in the western world since the day of release. This is a reissue of the 2nd Tolerance album, originally issued in 1981. Their music has been described as almost proto-Ambient Techno. Tolerance, consisting of Junko Tanage and Masmai Yoshikawa, were the only band that released a second album on Vanity. Their first LP (Anonym, 1979) was supposedly the source for the title of the second Nurse With Wound LP, To The Quiet Men From A Tiny Girl. The label was founded by Yuzuri Agi (he was also rumored to have ran Voice records, which in 75-76 released the ultra-mysterious Brast Burn and Karuna Khyal LPs). The following label manifesto was published in 1979: 'We will produce records pursuing 1). Electronics Music, 2). 'Music as Furniture' series (Modernistic Music), 3). Invation to Kayo-kyoku, 4). Music with experimental new vision (Punk., New Wave, Free Music, Modernistic Music, etc.).'..............

Credits
Cover – Toshimi Kamiya
Engineer – Naoki Oku
Engineer [Assistant] – Yoshiteru Mimura
Guitar [Effective Guitar] – Masami Yoshikawa
Producer – Yuzuru Agi
Synthesizer, Effects [Electronic Echo Unit], Piano, Voice – Junko Tange

Tracklist
A1 Two Owls
A2 I Wanna Be A Homicide
A3 Osteo-Tomy
A4 JUIN-Irénée
A5 Anonym
B1 Laughiñ In The Shadows
B2 Through The Glass
B3 Tecno-Room
B4 Voyage Au Bout De La Nuit

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