In Conversation with Melt-Banana: Tokyo’s Influence and New Sounds in “3 + 5”, out on August 23rd 2024

Transmission 079: Interview with Melt-Banana

Melt-Banana is a Japanese noise rock band established in 1992, featuring vocalist Yasuko Onuki (also known as Yako) and guitarist Ichiro Agata. The band is characterized by its fast-paced, experimental sound and has released ten albums, performing internationally. Since 2013, Melt-Banana has functioned as a duo. Their ninth studio album, “3 + 5,” is set to be released on August 23, 2024, under their A-Zap label.

Title: 3 + 5
Artist: Melt-Banana
Release Date: 2024-08-23
Genres: Experimental Music, Noise Rock
Label: A-Zap records
Description: Melt-Banana discusses their new album "3 + 5" in an exclusive interview, exploring their unique sound, creative process, and influences.

The album will be available in vinyl, CD, and digital formats and features Yako’s rapid vocal delivery and Agata’s effects-laden guitar work, combined with aggressive electronic elements. “3 + 5” draws influences from diverse genres such as extreme music, hyper-pop, punk, metal, and noise. Melt-Banana has operated as a two-member band since 2012, integrating digital productions with live instrumentation. Yako’s vocal technique is noted for its unconventional approach, deviating from traditional singing methods. The meaning of the album title, “3 + 5”, remains ambiguous and is open to interpretation, potentially symbolizing the band’s independence and distinctive identity.

Melt-Banana‘s official site, Patreon, Instagram, Facebook, Youtube

What was the first sound that made you want to create your own noise?

Yako: I remember very well how much fun my sister and I had playing with the flexi discs that came as extras with the magazines I used to buy in elementary school, which included short skits from manga and theme songs from anime. We would listen to them at fast and slow speeds.

Agata: It was when I was in middle school, and I played a guitar at a friend’s house for the first time. I vividly remember the moment I heard the sound of feedback.

How did Tokyo’s underground scene shape your early musical vision?

Yako: There were a lot of interesting and stimulating bands like “Electric Pudding” and “Texas Chainsaw.” So, rather than making music by listening to CDs or records bought at a record store, I think we were greatly influenced by those bands.

Agata: There was a wide variety of music in the Tokyo underground scene, from extreme to more accessible sounds, so it was tough to find our own identity within that. I think the Tokyo underground scene is still like that, but that eclectic sense forms the foundation of who we are.

Can you take us back to the moment when MELT-BANANA was truly born?

Yako: It was when we talked about creating music where the bass would represent the kick drum, the guitar would represent the snare part, and I would put vocals on top of that.

Agata: Because, at first, we didn’t have a drummer.

Which unexpected artists have influenced your sonic mayhem over the years?

Agata: A long time ago, Yako and I were on a train when a lady sitting in front of us gave us tickets to a fashion show by a Japanese designer named Issey Miyake. So, we went to see it. I was amazed by the alien-like models, but what I really enjoyed was the music used there. Since then, I’ve started paying attention to the short pieces of music used in TV commercials and, more recently, it is also interesting to check out fashion shows on YouTube to see if there’s any interesting music. I don’t often look into whose music it is, though.

Yako: Oh, I remember that! We weren’t even 20 yet. For me, it’s classical music. I was exposed to it a lot when I was little, and I still enjoy it now. I’m also not very knowledgeable about it, though, teehee. 

How has your relationship with noise and distortion changed over the years?

Yako: When we started this band, we aimed to create catchy songs using only noise, with minimal clear pitches. Over time, we gradually added more pitches, riffs, and chords.

Agata: It means Yako gradually became more open-minded. At first, she was very wary of doing anything other than noise on the guitar. The gradual change in Yako’s perspective over the years might be what has changed Melt-Banana’s sound.

Can you share a moment from recording “3 + 5” that captures the album’s essence?

Yako: It might be when I recorded the vocals while shut in a very small closet in complete darkness.

Agata: It might be when I didn’t like what I had created and ended up feeling like hitting myself in the face.

Are there any themes or concepts that run through the album?

Yako: There aren’t any specific themes or concepts. I just wanted it to feel like making a cassette for a friend, with favorite songs on side A and side B.

Agata: “3 + 5” has nine tracks, but each one stands alone. I don’t know if you can call it a concept, but we intentionally left out the type of songs like “taen taen taen” and “Zero+” that, in a way, complemented the whole album in our previous releases.

What new sonic territories does this album explore that you haven’t touched before?

Agata: It’s the use of synth sounds. We’ve used synth sounds as samples before, but this time we used them a lot more.

Yako: It might be a confusing way to put it, but I think of it like a distortion that fills the gaps between the drums and guitar. I thought it would add a new atmosphere overall.

What role does improvisation play in your recording process?

Yako: Our music isn’t created by writing scores. It’s basically built on layers of improvisation. We record them multiple times and gradually add the parts we like to the song.

Agata: The beginning of song creation is always improvisation. I just pick up the guitar and start making sounds, program the drum machine on a whim, or play around with plugins. Sometimes I can’t remember how I played a guitar part or the settings I used for an effect later, but in those cases, I try to come up with an idea that I think is even better.

Yako, how has your unique vocal style evolved for this album?

Yako: I’m not sure if my vocal style has evolved. I don’t really think about that. I just do what I find enjoyable. However, the backing tracks Agata brings in always have slightly unusual structures, so I put a lot of effort into figuring out where and how to place the vocals. It might not be about my vocal style, but as a result, I think the tracks and vocals have come together well.

Agata, can you share any new techniques or effects you’ve explored on “3 + 5”?

Agata: I used the Digitech Ricochet and the Boss SY-300 a lot for “3 + 5”. I used Ricochet for pitch shifting. The SY-300 has effects similar to a sequencer, and I used that effect a lot on this album. I’m not sure if it’s a new technique, but using the SY-300 to blend in sequence-like sounds is something I hadn’t done before.

What aspects of Japanese culture or subcultures had the biggest impact on this album?

Yako: I don’t know exactly how it has influenced this album, but Japanese anime and related culture have definitely influenced me.

Agata: It might be the city of Tokyo itself. It’s very chaotic, with nature and artificial elements blending together, old buildings and new buildings coexisting, and a fast pace of life. It may seem “chaotic” at first glance, but the various elements mix together in a complex way to create a unique atmosphere, and I think Melt-Banana has unconsciously been influenced by that.

What’s your next project?

Yako: We have a few ideas, but unfortunately there’s nothing I can share just yet.

Agata: We’re currently busy preparing for the tour, but once we have some time, we plan to find the demos and other materials from this album and share them on our Patreon page.

Photo courtesy of Melt-Banana

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others