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Melt-Banana's Cell-Scape
An Interview with Yasuko Onuki
by Fake Train
Taking their name from Andy Warhol's Banana screen print, Melt-Banana's approach to punk rock is as radical as the artist that sparked the idea for this Japanese outfit's goofy moniker. Melt-Banana's reputation as being a blistering live act couldn't be more true. Live, Melt-Banana's sounds hit you harder than an Arabian face buster with a chair. Their latest release, 666, a 6" released on Level-Plane Records, encompasses that unique franticness and passion embedded deeply in their influences of punk, and the heart of all four members of one of Japan's finest, Melt-Banana.
Their first time working with Level-Plane, Melt-Banana vocalist Yasuko Onuki had nothing but positive words to say: "[T]hey are really nice people. Working with them is very comfortable. We play with Hot Cross and City Of Caterpillar [both Level-Plane recording artists] in April in Japan!" 666, contrary to general belief, holds no biblical significance. Simply put, "Because we put three songs on a six-inch record." And what sets 666 off from past Melt-Banana releases? "It's one of the newest recordings!" The explanations couldn't be any more basic—short and precise, just like Melt-Banana's fervent songs.
So what is it about music that keeps Melt-Banana playing, even after eight full years together? "It is a part of life now and it is the easiest way to feel satisfied and communicate with people. Also, it's a tool to tell people that we can write music!" An understatement if I ever heard one. Melt-Banana's songs are full of potency, especially considering the fiery magnitude jam-packed into the limited time length of each song.
Taking into account that they are more a live band than anything, they have had great success capturing that Melt-Banana charm on their recorded material. The feat is equally shared by Yasuko: "We always feel happy about the result of the recording when we finish it. But, it is impossible to represent live energy with the recordings. We think live and recordings are two different things. It is still impossible even if we sell CD box sets, including three power amps for High, Mid, and Low, PA speakers, cables, etcetera, to play the CD, and even if there's a video projector, screen, and video tape of us playing the songs along with the CD!" In other words, go see them live. Their vigorous performance emits an energy found in bands few and far between, and a band you definitely don't want left on your "I wish I could have seen" list.
Melt-Banana accomplished what they originally set out to do early in their musical career: "As for writing music, we think we did it on our first album [Speak Squeak Creak]!" Spanning an extensive range of albums, split releases, EPs, and compilation tracks, Melt-Banana's discography will give the most hardcore record collector a migraine at the thought of accumulating their complete catalog. One thing remains certain, they stick to what they do best without a constant need to reinvent themselves. "Basic idea is always the same. We always try to improve the idea with the influence from the bands we play with, or from the music each of us listens to."
Sure, a bands' sound will be influenced by other musicians, which goes without saying, but living in Japan also has influenced the music of Melt-Banana and Yasuko's inexplicable lyrics (haphazard, disjointed English words thrown together—almost as if King Buzzo of The Melvins and Yasuko are playing a fanatical game of Scrabble). "It's fun to live in Tokyo. Maybe TV programs are the most different thing for us compared to the TV programs of other countries. It is in Japan that we have many stupid, funny programs. And TV commercials are great too (not as good as the TV commercials from the bubble period of Japan's economy though), and yes, it influences Melt-Banana's sound, absolutely." And what sets Melt-Banana's sound apart from other bands? "We can't tell you why." Well, no description is necessary; their indefinable output is rare—clearly in a category all their own.
In trying to create some of the highest-octane punk rock on the planet, they are concerned with the control, ownership, and distribution of their own releases, resulting in their forming A-Zap Records. The reason is reinforced by Yasuko: "We can do whatever we want concerning our record releases. We can control most of the things; even the label is very, very small. It is important for us now." A-Zap is currently planning for the release of Melt-Banana's fifth album, cell-scape, slated for the summer of 2003.
Bands don't stay together forever (unless you're The Rolling Stones), so asked when Melt-Banana does eventually come to an end someday, what do you want to be able to say about the whole experience? "It's difficult to tell, it depends on how we finish. If we finish in a good mood, I would like to say that we did everything we wanted to do without any stress or hurry. If in a bad mood, maybe each of us would want to yell at each other and we'll have nothing good to say about the whole experience."
With close to a month-and-a-half tour of the U.S. coming up (30 May to 11 July), what Melt-Banana looks forward to, more than anything, when visiting the States is "To see many good and new American bands! If they come to Japan, it will cost at least $20, and normally $30 to $50. So it isn't cheap for Japanese to see about 100 bands in one-and-a-half month." That's a bona-fide hardcore music fan talking.
"We have no idea what we want people to feel, even if we desire to control people with music. . . . It's their right!" Yasuko reacts to what they would like people to feel when they listen to Melt-Banana. Fan or not, you have to be cold-blooded not to feel something from the groups discharges of intensity. And with any indication of 666, cell-scape is sure to be one of the most favorably anticipated releases of 2003, if not for new ears, certainly for longtime Melt-Banana devotees.
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