Here is FAQ about MELT-BANANA.
more Qs coming …
Q : What is MELT-BANANA?
Answer: MELT-BANANA is a band based in Tokyo JAPAN.
Members are YAKO and AGATA.
Q: What type of music?
Answer: Some people say they are noise band, some people say they are so-called no wave band, some people say they are hardcore band, some people say their music is like roller coaster in an amusement park… It is hard to categorize their music, but basecally they are rock band with a spice of punk taste.The easiest way to find out is to listen to their music and you will find out.
Q: How the band formed?
Answer: In short, basecally, YAKO started the band, and AGATA joined.
On April 1st in 1993, the band was named MELT-BANANA.
Q: How many albums?
1st album “Speak Squeak Creak” (A-ZAP Records)
– 1st album was originally released from NUX Organization, and reissued by A-ZAP.
2nd album “Scratch or Stitch” (Skin Graft)
– It was licensed to meldac in Japan for Japan release.
3rd album “Charlie” (A-ZAP Records)
4th album “Teeny Shiny” (A-ZAP Records)
5th album “Cell-scape” (A-ZAP Records)
6th album “Bambi’s Dilemma” (A-ZAP Records)
7th album “Fetch” (A-ZAP Records)
Q: Is there any web store or distro that sells MxBx shirts?
Answer: MxBx sells their merch like T-shirts, pins, stickers, etc. at their live shows. (Sorry for inconvenience…)
Also, Revolver USA (midheaven.com
), GHZ Music Store (ghz.shop-pro.jp), and Believe Music Store (believemusicstore.com
) are selling MxBx T-shirts.
Q: Is Yako singing in Japanese?
Answer: I am singing in English, and you can find all of the lyrics inside of CD booklets if you are interested.
When I first started singing in a band, I was singing in Japanese, but I changed to English. I thought that English would fit more to my style of singing.
Q: Is “Phantasmagoria” intended to sound like the opening to a Damned album that I do not remember??
Answer: I knew the word “Phantasmagoria” from this Damned record for the first time, and remember this word again from the name of art of Joe Foti, artist from Chrome Hearts. I thought this word fit to the song when I thought of the title.
Q: The Outro For Cell-Scape Reminds Me Of The Damned Song “Curtain Call”?
Answer: I didn’t know this song, and listened to it at friends house today. I liked it.
Q: Which album makes you frothy?
Answer: Human beings can live because they can forget things that they don’t like.
Q: What’s the name of the song you did for perfect hair forever?
Answer: Hair Cat.
Q: I was wondering if that was yako’s voice on the theme song to the cartoon “pucca. It sounds very much like yako.
Answer: I understand what you mean, but it is not my voice.
Q: Do you feel that synthesizers are gay?
Answer: No. If it is a shoulder keyboard. it wii be a different story.
Q: What is your motto/philosophy?
Answer: For today, jump before you look.
Q: How old are you guys?
Answer: We regard dates of birth and place of birth as private information.
Q: What is your favorite style of T-shirt?
Q: What is your favorite type of sandwich?
Q: Best soup?
Answer: Asparagus. Asparagus soup we had in Germany was very good.
to be continued…
ED SCHRADER’S MUSIC BEAT
After turning heads with the densely orchestrated Riddles, produced by Dan Deacon, the Baltimore-based duo Ed Schrader’s Music Beat have given us another giant leap forward with their fourth record Nightclub Daydreaming. The whiplash-inducing stylistic shifts between aggressive noise rock and operatic gloom pop that have become the band’s trademark have given way to a single aesthetic that fuses both impulses. On Nightclub Daydreaming, menace teems just below the surface as propulsive, stark arrangements leave space that Schrader fills with strident, reverb-soaked narration.
When Ed Schrader and Devlin Rice began writing the record in 2019, the idea was to make a fun, danceable album, but an underlying moodiness proved unshakeable. As Schrader puts it, “The cave followed us into the discotheque.”
The duo road-tested the songs “This Thirst,” “Echo Base” and “Black Pearl” with drummer Kevin O’Meara on tour with Dan Deacon in February 2020. COVID restrictions cut the tour short, squashed plans to go immediately into the studio and sent the touring party on a sprint from LA to Baltimore. “We broke down outside Roswell,” Schrader recalls. “And these cops laughed at our dumb asses as we used all our pent-up stress and fear to propel our half-submerged bus out of the muck, yelling epithets to the sky.”
It was one of the last experiences they had with O’Meara, whose death in October 2020 weighed heavily on Rice and Schrader’s minds as they worked on the record. It was also a cathartic moment that presaged the aesthetic that would permeate the songs on Nightclub Daydreaming: “mad euphoria in the face of doom,” as Schrader puts it.
“This Thirst” is an alienation-fueled barn burner barely restraining itself through musically sparse, lyrically dense verses to culminate in a howling, synth-saturated chorus that beats horror punk at its own game. “Came from the north with a twisted planetarium, rock salt, nervous tic and novocaine,” Schrader sings, assuming the guise of a vagrant whose irresistible urges lead him through a fever dream of chemicals, back-alley bartering and existential threats.
The hyperactive “Echo Base” exudes agitated-cool, with breakneck drum fills and a relentless bass line. The narrator is stranded in a frozen landscape and running out of options. “She is just a night train away,” we are assured, and yet we sense that may not be an altogether good thing.
The band recorded and mixed Nightclub Daydreaming over a two-week period with Craig Bowen at Tempo House in Baltimore with David Jacober on drums, turning demos with artificial sounds and placeholder melodies into fully realized songs playable by a live band. The end result is not the album of “sunny disco bangers” that Rice says the band set out for, but something deeper, darker and more rewarding.
“Ajo Sunshine (“Ahh-Ho”) is heralded by an alarming horn ensemble, stabbing with the dramatic urgency of a killer’s theme in a midnight movie. It’s a jarring but appropriate entry point for this brilliantly blasted listen, an array of exquisitely sharp edges punctuated by kaleidoscopic respites of throbbing warmth and surprising tenderness. J.R.C.G. (Justin R. Cruz Gallego)’s previous work with Seattle’s excellent Dreamdecay may foreground the broad strokes here, but he’s pushed things way outward in terms of his sonic palette. Abutting field recordings captured from rodeos off Ajo Way, a stretch of highway that leads you westward out of Tucson Arizona directly into the sun, both acoustic instruments and gleaming walls of synthetic noise are framed in dour and dissonant chord shapes, crackling with overdriven drum mics and seasick waves of distortion. It’s homage that plays out like a collage, a dream switching from station to station, a series of dedications broadcast on late night radio. All pin-hole size images from scenes never seen whole, strung together in but one version of complete. It all makes for a dazzling listen and it’s out on Castle Face November 19th.” – Matt Jones, Castle Face Records
The follow up with Boo Hiss’ debut ‘Sike Roc’ doesn’t simply go deeper down the rabbit hole, it finds holes side channels and hidden caverns to explore. Continuing Todd Drootin’s (aka Books on Tape) methodology of fighting instinct in order to create beyond the limitations of bias, Boo Hiss sounds at once alien and familiar – a result of both chance and the subconscious – tempered by decades of skill and experience to keep everything in place. True explorers of digital realms, be ready.