If Noise-Rock, and Punk were musical movements built on no more destructive behaviour than a gigantic excess of sugar, and were intrinsically aligned with computer game soundtracks, the world might have many a Melt-Banana.
That’s not this world though. So as the Japanese duo of Yasuko Onuki and Ichirou Agata return with 3 + 5 (A-Zap), their first album since 2013’s Fetch, prepare yourself for a Noise-Pop pounding as Melt-Banana do particularly Melt-Banana things.
Having long ago dispensed with the need for a rhythm section, Melt-Banana in 2024 might be leaning further into the notion of computer-games-as-music than ever (a Punk computer game, with very squeaky vocals).
With no human limitations to how fast those rhythms can go, much of the album is a whirlwind of frenetic energy. This just happens to be a whirlwind full of programmed electronics, which (alongside said high-pitched vocals) might make you question whether you’re somehow playing the album at double speed (or if Mario has just eaten a magic mushroom at it’s time to dance).
First track “Code” opens with a blast of noise like Sonic Youth’s “100%” — and there are plenty of allusions to Noise, Alternative and Indie Rock throughout the record.
Just as key to the overall sound of the record, however, is the poppiness. On “Code” and elsewhere, these 100mph Noise-Punk ditties are soaked in a maniacally cheery major-key poppiness.
But despite the kid-friendly musical demeanour, it doesn’t make many steps to link Melt-Banana with some of Experimental Rock’s overtly harsher players — with Melt-Banana having previously recorded with Steve Albini, been produced by Zeni Geva’s KK Null and having cited Atari Teenage Riot and Lydia Lunch amongst their influences.
So while Yasuko’s hyperactive vocal delivery and Agata’s intertwining stew of glistening guitars and electronics maintain the sugariest, most saturated tone of cartoon pop, the duo quite happily pepper in whatever noisy, rocky or abrasive elements take their fancy.
Tracks like “Stopgap” and “Whisperer” have no shortage of memorable guitar hooks (sitting as they are amongst the cartoonish bombardment).
Elsewhere, the impression of the guitars stretching upwards on “Scar” is as effective as the catchy chorus — which slowed down might resemble some early 2000’s Indie Rock like Granddaddy.
The programmed drums and bass are in turn emphasised (on “Flipside” and “Hex” respectively) towards the back of the album, helping to keep some variety from one track to the next for all the album’s non-stop computer game aesthetic.
Twenty-four minutes of this crazy carnival is probably about the right amount of sugary sweets to get through without inducing a headache and a sugar crash. Reportedly the duo created each track to be able to stand alone in the age of streaming playlists. It shows, as for all the album’s consistent, cartoonish computer game frenzy, there’s a lot of musical inventiveness and musicality contained throughout 3 + 5. A return well worth the wait.
Buy the album here:
https://melt-banana.net/
8 / 10
TOM OSMAN
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