Melt Banana Albums (8)
What The Critics Say
Even when at their most accessible, Melt Banana is still one of the more challenging punk rock outfits in recent history, and with their seventh full-length studio album the band that harnessed chaos to perfection in 2003's Cell-Scape continues to make music that is as thoroughly outrageous and dizzyingly hilarious as ever. While Bambi's Dilemma may not cohere as a whole quite as effectively as Cell-Scape did -- at times it feels like the missing link between that album and their previous release Teeny Shiny -- it does have moments of manic brilliance that are sure to please longtime fans and perhaps even win over a few converts. Whereas Cell-Scape operated on an almost sci-fi level thanks to the introduction of more electronic elements into the band's sound, Bambi's Dilemma largely goes back to the basics by stripping the sound back down to its roots (with the notable exception of the hypnotic "Type: Ecco System" of course). It seems that by previously experimenting with their sound the band was able to grow and expand, but don't mistake maturity for selling out because despite the "Rock Banana" moments scattered throughout Bambi's Dilemma, the band never misses a chance to catch the listener off guard with a little well-placed insanity. Perhaps nowhere on the album is this point better displayed than in "Dog Song," a tune that's sure to have listeners tapping their toes before it explodes into one of the most ear-splitting verses ever recorded. A decent introduction for newcomers and a somewhat unexpected surprise for longtime fans, Bambi's Dilemma proves without question that while they may well have the ability to craft the catchiest pop song imaginable, Melt Banana will never miss an opportunity to twist that perfection into something wholly unexpected. As with most of the releases in Melt Banana's catalog Bambi's Dilemma will likely take a few listens to truly sink in, but when the album finally clicks most will likely agree that it was well worth the effort. ~ Jason Buchanan, All Music Guide
What The Critics Say
Has Melt Banana gone electronica? Though this is likely the question fans will be asking themselves during the electronically-oriented, almost Curve-like opening refrains of Cell-Scape, the answer is an emphatic and enthusiastic "no" -- they are, in fact, more tightly focused in their remarkably controlled fury than ever. From the grinding opening of "Shield for Your Eyes, A Beast in the Well..." on, this is undoubtedly the Melt Banana that listeners have marveled at for nearly a decade. The only difference between their older material and Cell-Scape is that with their latest effort the band has mastered the art of slowly building the intensity of a song before unleashing a barely contained rage that has come to define their unmistakable sound. If fans question their motives in the opening moments of this release -- the joke is most certainly on them, for the middle section of Cell-Scape shows the band's songwriting skills maturing impressively without any sacrifice to intensity or speed. Any band that has been around as long as Melt Banana and possesses such a unique sound needs to mature in some manner lest they risk the boredom of repetition in the eyes of fans, and the manner in which chirping lead squeaker YaSuKo O. and company has couldn't be more satisfying. Their undeniably unique sound is now more relevant than ever, perhaps even more so, resulting in an increasingly infectious sonic assault that will please longtime fans and peak curiosity in the uninitiated. ~ Jason Buchanan, All Music Guide
'Cactuses Come in Flocks'
Release Date 9/28/1999
Tracks 32
Label A-Zap
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What The Critics Say
This album conjures up some frightening imagery with the music it contains. A song might start with a fire bell clanging away while the guitar, bass, and drums go in every direction, bringing to mind a grouping of people heading for the emergency exits in a burning building ("F., Pt 1"). Vocalist YaSuKo O. resembles a chipmunk in need of a heavy dose of Ritalin ("Sonic Turtle"), or a chanting cheerleader after she's consumed a full can of coffee ("Up AND down, 1,2,3..."). On many of the tracks, her vocals jump to the ceiling like a frightened cat while the bass churns through deep puddles of untreated sewer water. Melt-Banana's songs are pointy, in a way, because of all the staccato rhythms they use. It's almost like being repeatedly poked in the ribs with a bony finger. Melody doesn't matter, but the percussive aspect of not only the drums, but all instruments, plays a key role. The approach of the bass, vocals, and guitar are very hard and pound on certain beats more than others. Typical song structure doesn't exist as well, with the average song clocking in at roughly 40 seconds. Choruses are missing, and most tracks only consist of a word or phrase that is repeated over and over, like a mantra. Melt-Banana has created a musical approximation of what it's like to file a piece of metal down to a nub using scribbled distortion patterns. ~ Stephen Howell, All Music Guide
'MXBX 1998: 13,000 Miles at Light Velocity'
Release Date 2/16/1999
Tracks 26
Label Tzadik
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What The Critics Say
MXBX 1998: 13,000 Miles at Light Velocity, impressively enough, is a live recording of Melt-Banana, one of Japan's finest noise/prog underground bands -- anyone impressed with studio recordings of the group's scratchy, frantic rock will no doubt be bowled over with the way this sounds in a more direct and organic setting. With a pace and energy that rivals kings of the genre like the Happy Family, Melt-Banana tear through most of the best tracks on their album releases -- selections like "It's in the Pillcase" and "Disposable Weathercock" even seem to sound better than they did on Scratch or Stitch. Most notable is a cover of "Surfing U.S.A.," and if you're familiar with Melt-Banana, you can probably imagine how wonderful such a thing would be. ~ Nitsuh Abebe, All Music Guide
What The Critics Say
For this Japanese underground rock unit, the approach to ensemble playing seems designed to mimic the noise of kids playing records backwards or 33-rpm records at a 45-rpm speed. The schizophrenic sound is stylistically similar to Atari Teenage Riot, the Boredoms, and Ruins, as they frantically assault music as we know it over the course of an album with no apparent purpose other than to excite pure adrenaline and the punk in all of us. Charlie features guests Mike Patton, Trevor Dunn, William Winant, Gregg Turkington, and others making all-star cameos. ~ Martin Walters, All Music Guide
'Scratch or Stitch'
Release Date 5/21/1996
Tracks 22
Label Skin Graft
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What The Critics Say
Beware: Scratch or Stitch is the sort of Japanese noise rock that could prove highly unsettling. Imagine rampaging drums, guitars even more gnarled and noisy than those on Sonic Youth's Dirty, a female vocalist screeching in monotone, and bass a funk metal band could be proud of, and you're about halfway there. This may sound like a racket -- and it is -- but it's such a tight, organized, and intense racket that you can't help but be awed by it; the band tears through 22 brief songs without ever leaving highest gear, and the production assistance from Steve Albini and Jim O'Rourke really capture the insane energy of the group. (And trust me -- the "insane energy" you may imagine while reading this is nowhere close to what you'd hear on the album.) It's hard to imagine anyone sitting down and listening to this album in its entirety, but that certainly doesn't mean it's not good -- the thrill here is the same sort that comes from the Boredoms' more ridiculous romps and the cascades of noise Merzbow passes off as albums. Among Western audiences, Melt Banana requires a very unique type of listener -- they're a very unique sort of band. ~ Nitsuh Abebe, All Music Guide
'Speak Squeak Creak'
Release Date 8/1/1995
Tracks 25
Label Nux Organization
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What The Critics Say
When hearing this avant rock band, it's hard to avoid comparisons with other Japanese underground groups, as Melt-Banana deals in a similar jump-cut noise rock extravagance in the vein of the Boredoms, Ruins, and Zeni Geva. Incidentally, the album consists of 24 stabs of screeching playful noise collage and extraordinarily agile progressive rock-punk fusion. The album was produced by Zeni Geva/Yona Kit guitarist K.K. Null in Chicago in 1994 with engineer Steve Albini. Those two names should be endorsement enough for fans of avant rock and underground noise. ~ Martin Walters, All Music Guide
