Melt Banana 11.12.2022 – w/ Ed Schrader’s Music Beat, Deaf Club and Glass Stab

“It’s Grindcore, but with… Japanese Pop? I don’t know how to explain it, but you need to check this out.”

It was somewhere in 2002 or so when I first heard Melt-Banana, at a party. Among a night of Grindcore and Black Metal mixed cd’s (someone diligently taking record duty) it was more of a curiosity. I didn’t take much in at the time other than a neat voice on a genre that too often ended up as background noise. Short songs. Blasts. Fury of guitarwork.

My friend asked me if I had heard them before, “It’s Grindcore, but with… Japanese Pop? I don’t know how to explain it, but you need to check this out.”

I recognized it, but mostly as the other side of The Locust Split.

At the time they had a new split with The Locust, whom was a band I had immediately found an attachment to as an artistic expression. I kept Melt-Banana on the backburner of my mind for a while as I got deeper into the Anarcho/Crass Records scene and obscure Black Metal maniacs.

In about 2005 my thoughts on M.B. expanded greatly.

It was late summer or early fall, which still translates to hot desert days with reasonable nights. On this particular afternoon I was at a friend’s house and under some influences. We had been trying to wait out the sun for cool evening temps by listening to records and jamming out on some instruments he had. After a few too many D-Beat records we switched to the Melt-Banana/Locust split we had played out for years, but halfway through he sprung to life.

“Oh man!” he dramatically declared, throwing his hand on his forehead and pushing his glasses down his face. “I forgot I have the Melt-Banana discography!”

Too poor to have actually purchased that many albums, I know that meant he had a computer file from Limewire… or whatever he was using by then.

For whatever reason, on that day, Melt-Banana struck me in a way beyond what most punk bands do.

His computer was plugged into his external speakers he played their oldest album to the newest and it drilled itself deep into my mind.

Similar to how The Locust, Crass and others hit me. This is more than just an *insert name* kind of band. This is art and more.

High art. Unique.

Perhaps it was because I was hearing material of theirs that I had not heard before, or perhaps it was that my perception of art had grown. Maybe it was because of things that I am still unaware of – or all of those things. What I DO know is that since that afternoon laying on my friends floor, sweaty and stoned, listening to their entire catalogue to that point in time, I have been a big fan of Melt-Banana.

In reflection, I know the 2003 album Cell-Scape was on that playlist and from my perspective was a shift in what I… absorb? Out of the band. The smashing shrieks of guitars and drums felt as though it had a depth and quality to it that I didn’t realize I had needed out of the band.

Yes, Yasuko Onuki’s vocals and Ichiro Agata’s guitarwork was always a standout, no doubt. But from Cell-Scape moving forward the switch to digital/programmed drums was a thing I liked. A LOT. There is a wonderful harmony in Yasuko’s Japanese accented English vocals and Ichiro’s fury of guitar work blended with the thunderous programmed percussion. It feels part manic but deeply constructed.

This all reaches a glorious peak (in my humble opinion) with the 2013 album Fetch. I cannot accurately describe how brilliant I think this album is. It is not just in my regular rotation of punk or hardcore, but in my general rotation. I listen to songs from this album so regularly you would think it just came out. In recent years streaming services will tell you what you listened to the most that year – a song or two from Fetch are always on that list.

Knowing that Ichiro Agata has referenced his experience in games as an influence, hearing his ceremonies of noise, effects, loops and furious finger work – you can really feel those emotions and passions bleed through the work. As a non-native English speaker, the vocals of Yasuko Onuki have a style all her own. Sometimes looking words up, her lyrical style has more of a feel in sound than content, in the same way a hip-hop lyricist will find the words to match the sounds they hear and want. This gives it a sometimes obscure but poetic feel to it. Couple these elements with the bouncing and sometimes assault-like nature of the drums, it all makes sense. Every album different than the last but with a presence that is never lost,

there is harmony and balance in the music of Melt-Banana that very few bands of any genre ever achieve.

As a non-native English speaker, the vocals of Yasuko Onuki have a style all her own. Sometimes looking words up, her lyrical style has more of a feel in sound than content, in the same way a hip-hop lyricist will find the words to match the sounds they hear and want. This gives it a sometimes obscure but poetic feel to it. Couple these elements with the bouncing and sometimes assault-like nature of the drums, it all makes sense.

Every album different than the last but with a presence that is never lost, there is harmony and balance in the music of Melt-Banana that very few bands of any genre ever achieve.

Finally getting to see them live, and out in my desert town of Palmdale, California was the best experience I could have had.

“If you could pick a show, find your own headliner, what would it be?”

“Melt-Banana” was my response.

This is what my friend Matt asked me. As one of the owners of Transplants Brewing Company he was not only looking to fill his calendar but also knows that I listen to bands outside of his personal music tastes or knowledge and I can be a good springboard.

I named a couple of other bands for the show but unfortunate and tragic life events would prevent that from ever being a conversation with anyone.

I was pleasantly shocked when several months later the Numbskull Productions lineup of Melt-Banana with Deaf Club and Ed Schraders Music Beat came up as an opportunity for Transplants and they obliged.

Sidenote: While I don’t work for Transplants, I DO have a friendly and working relationship with them. Friends and associates perhaps. I designed and built their Taproom display board of B.L. Singletons amazing artwork of Beers on tap as well as designed and personally rigged the lighting in the venue. (Fun-Fact: The physical lights are from Silver Lake’s own Satellite when it closed over the pandemic) Justin Melchor and Alex Ivanov Direct the live lighting and sound, respectively, really making the concert experience at Transplants something beyond this High Desert Valley has ever had. Love those people.

I would have opportunities to have seen them in the past two different times but things in life got in the way of that opportunity. Finally I would get to see them live and in person, along with one of my newer favorite projects: Deaf Club. I tend to be a fan of Three.One.G releases and Justin Pearsons projects in general but Deaf Club has particular elements of noise and effects that assault my eardrums in ways I enjoy.

Ed Schraders Music beat would be a brand new and very enjoyable experience for me, but the night started with Glass Stab…

Glass Stab

Starting the night was a local favorite, Glass Stab. A Metal/Hardcore crossover that touches on the balance of the sort of heaviness that any metal fan would like with some Hardcore flavors to keep it fresh. There is a lot here that strikes me as almost particular to this desert in terms of Hardcore. I can’t quite put my finger on it, but the mix of breakdowns, Graham Fletchers vocals, some Metalcore and some sampling leaves you with a very Antelope Valley (AV) / High Desert taste in your mouth. Which isn’t a bad thing by the way. Metal is always a “take it or leave it” sort of thing and I am always happy to see them on a bill.

They stay heavy.

This sort of modern Hardcore isn’t my favorite coming from most bands of the sub-genre but Glass Stab I do actually enjoy. Although I am partial to the oldschool hardcore of the early 1980’s, I think Glass Stab has an appeal to me because their blend of hardcore keeps it fresh. Also, growing up in this same desert leaves us all somewhat partial to what we know in a semi-isolated setting. Especially in our formative years.

There is a genre familiarity in their sound that will immediately connect with or alienate an audience but a uniqueness that will reel in most folks who give them the moment.

I am probably not the best to comment on their influences or “sound a lot like” of “For Fans Of…” sort of comparisons since this isn’t a sub-genre I dig too deep into. I just know that they are a band I enjoy.

Most often I have seen them live as a mid-bill band behind the headliner or seconder. Every time, they end their set with more people in the audience than when they started- so I know the general public finds themselves drawn to their blend of Hardcore. I really appreciate their heavier moments (although I’m not a breakdown fan) but when I feel the floor shake I feel joy.

Most often I have seen them live as a mid-bill band behind the headliner or seconder. Every time, they end their set with more people in the audience than when

they started- so I know the general public finds themselves drawn to their blend of Hardcore. I really appreciate their heavier moments (although I’m not a breakdown fan) but when I feel the floor shake I feel joy.

Graham, clad in a winter cap, flapped up almost like Teddy Bear ears is in the hardcore uniform. Exercise shorts, sneakers and some sort of collared shirt or jacket. His energy and more significantly his passion pours itself all over the band and stage. This is one of the most appealing this about experiencing them live. The passion.

The way Thomas Kantin grooves around the stage on his bass, thundering through the room expressed this same passion. The way Anthony Maier and Chris Bousquet passionately work around each other and with one another to bring all of the riffs, layers and solos you want in modern hardcore. This is all while being held down in a precise and passionate groove by Zachary McCullough on the drums.

If you have the chance to, and are into modern hardcore or metal in general, check out Glass Stab

Glass Stab on Instagram

Glass Stab on Spotify

Deaf Club

A complex attack of sounds,

Deaf Club stands out as a unique collection of talented people who are either brilliant at arranging noise into something triggering and desirable… or a complete failure at making bad songs because their talent and instincts prevent it.

One of the things I have been most excited to see/experience in recent times has been Deaf Club. Thanks to the pandemic, like most of us, instead of concerts I had just been reserved to just what I have on the stereo or in my headphones.

Since things have opened up, getting out of the desert for anything other than work has been difficult and expensive.

I am already partial to noise, unusual sounds, hardcore punk, grind and especially when there is an urgency and franticness – my musical tastes salivate. Deaf Club triggers all those sensors and many more, like a drill into the brain that feels good for some reason. I don’t know how to explain it other than an assault into my years that makes me excited.

Live, Deaf Club was everything I could hope for with such a project. They have a profound commandment and presence on stage and function as a cohesive unit of aggressive frantic bodies to match the aggressive frantic music. A complex attack of sounds, Deaf Club stands out as a unique collection of talented people who are either brilliant at arranging noise into something triggering and desirable… or a complete failure at making bad songs because their talent and instincts prevent it.

From the moment they being their set, you cannot help but be taken back by the explosion of sounds. From Scott Osments explosion of blasts and Jason Kleins thick bass lines to the almost dueling guitars of Tommy Meehan and Brian Amalfitano they look almost be in a fight with one another. Sort of how you see fights in a Broadway Musical. They seem to be fighting.

I feel the aggression. Yet. It all splashes together in harmony, like an angry ballet reaching crescendos with Justin Pearson’s unique and identifiable vocals.

The Worst Musical Ever.

I’m all in.

Standing on amplifiers and throwing themselves around the stage, it would be alarming if it wasn’t so obvious that they know what they are doing. You cannot help but get lost in the barrage of sounds in syncopation with the percussion. Octaves, ultra-high pitches and thing’s that should not be music continually screaming from the amplifiers and surrounding you as Justin’s vocals smack you across the face.

You will know almost immediately if you enjoy it or not, but then, even if you don’t, you still want to experience it.

Some people there watched the show almost like watching an accident at the moment of impact, never seeing the results, just experiencing the impact over and over gain. Almost as if you are propelling forward through an infinite crash. This is an experience, regardless of your musical tastes, leaves you in a state where you cannot look away. I could only imagine the fucked up expressions of confusion for people at some of the more unusual shows they have played (like a John Waters event with artists such as Josie Cotton)

This crowd came prepared for some noise and were still clearly overwhelmed with Deaf Club, but in the best of ways. Anyone that was outside for a smoke, or to chat was inside before the second song even started. There is an energy with the band that everyone could feed on, although overwhelming for some. This is exacerbated as Justin hops the barrier and goes into the crowd. Direct confrontation.

By the third or so song, everyone else was inside and watching. There is so much going on it takes a moment to sort it all out in your senses. An onslaught with almost no relief. Tommy climbs onto his amplifiers while Jason is almost slamdancing with his Bass.

Brian is across the stage screaming vocals into his microphone while his hands make furious work across the guitar. Scott and Justin are almost at physical odds in the sense that Scott is stuck sitting on his throne, pummeling sticks to hold the beat, while Justin throws himself across the stage between stretching himself out like a serpent across the monitors and barrier.

Song after song attacking your ears with no end in sight. It is easy to get lost in the experience and everyone was caught, even trickling out to the lighting. So caught up in the (once again) frantic and complex nature of the music emanating from the stage that building itself seemed to be paralyzed into non-stop strobing and flashing. Around the time the experience was almost overwhelming for myself at the corner of the stage, feeling dizzy under the consistent flashing of lights Justin hits pause as he also kneels down-

“I know we play fast and confusing music but can we just calm down on the lights a bit. I feel like I’m going to puke”

Then they slam back into full gear for another flurry of songs before there is another break. This time it was for a Q and A. I am not sure how much of this part of the show is a genuine interaction with the crowd or a troll to remind themselves of how stupid people are.

The crowd, half unsure if this was real, proved the latter point with some stupid questions, immediately confirmed by Justin as they dismissed this section quickly and went back into their set.

Their lyrics don’t lead one to believe in confidence of society in general but is full of a poetic vagueness in metaphors and frustrations. Sometimes however the lyrics are direct, like an angry brother telling you how fucked things are and that you can do and be better.

“Boss needs you, you don’t need him.

Go call someone else.”

There is an obvious belief in one’s self, your autonomy and how that affects yourself and everyone around you as a whole. Greed, the real moral filth and the sort of hard left thinking that conservatives, capitalists and especially the religious folks despise.

Although a shirt declaring “God Free” makes this abundantly clear, there is a deeper idea going on about what freedom and the idea of one’s self really means. This however is an entirely different conversation, worth having, but I would say read about the Satanic Temple, read Marx and listen to some Chomsky.

I doubt a lot of this is ingested by many folks who are at the show and unfamiliar with Deaf Club or really any of the projects that the band members are or were involved in (Dead Cross, Cancer Christ, Planet B, The Locust, Santanic Planet, The Manx, ACxDC) but who knows. Maybe people could understand it as first-time listeners at a concert. I probably read like an asshole anyway.

At what would be the end of their set, Justin once again drops into the audience. He ends up atop the bar on the other end of the room, standing like a grand orator before a mostly deaf audience, it is like a final grand declaration before they hit their last notes.

At then it was over. There was a few moments of almost shock afterwards then cheers. People were left excited, dumbfounded and most of all people enjoyed what had just happened.

I did notice one thing about halfway through their set that stood out to me;

There was a portion of the audience who is all in, populating the front of the stage barriers and hanging off of every sound, beat and scream. The other section of the audience is intrigued, a bit confused and standing back. Wanting to witness what was happening, but not wanting to get to close. Was it fear? Probably not. But again, it reminds me of people watching an accident.

They can’t look away, don’t want to get too close and maybe wouldn’t admit how much they actually enjoyed it.

Deaf Club Web Deaf Club Bandcamp

Deaf Club Instagram Thee One G

Ed Schrader's Music Beat

This is a band that you can play for almost anyone and they would find songs along the discography that will speak to them.

Ed Schraders Music Beat was a delightful reprieve of musical balance for the night. They are almost like the Anti-Deaf Club for the Bill.

If Deaf Club is an infinite crash, Ed Schrader’s Music Beat is the aloe and warm blanket for afterwards.

A luscious full mix of broad sounds and vocalizations, they have a soothing nature that will only relax and warm you. A blend of 80’s and New-Wave sensibilities with warm crooning that weaves in and out of traditional song structures with more obtuse and unusual moments of eclectic ambience and passionate expression.

This is a band that you can play for almost anyone and they would find songs along the discography that will speak to them.

Like a rock band that can make quality noise but prefer to marinate in jazz and blues while sipping on every underground band from the 80’s while a Joy Division record spins. This probably makes no sense, but it does to me.

The essence of the band was immediately striking. Dressed almost for a casual dinner party where vinyl will spin, old world cocktails are served to spec and every garnish is a delicacy. That probably also makes no sense but it does to me.

Aside from Ed Schrader’s striking blue eyes, They have a presence that immediately cuts you deep inside as soon as They begin to sing. Hands reaching out for not something to be seen, but be felt, They are enveloped in the music like witchcraft.

It becomes almost like a trance as Devlin Rice works his Bass and bounces to the beat. Psychedelic Jazz Witchcraft is what is reaching out of the speakers, cradling you and holding you tight.

Some more obvious comparisons would be for fans of Joy Division, 80’s cocaine Bowie, Sisters of Mercy, R.E.M. and pretty much any Crooner.

I was not familiar with their music until I looked them up when the show was announced and I am glad I did. They have fallen into semi-regular rotation through my stereo on my playlists and I am happy to have seen it live.

Although I wish our high desert locals were more into dancing and allowing themselves to have a good time, I am glad they also experienced the band.

This was such a difference in sounds for the night that after the audience spent a song in recovery, they were not sure about what was happening. Slowly however, one by one, each person began to feel the auditory fingers of Ed Schrader’s Music Beat reaching into them and pulling them back in.

A song to croon with. A song to contemplate with.

A song to dance with. A song to be confused by.

A song to get lost in.

ESMB Web ESMB Bandcamp ESMB Instagram

Melt-Banana

If Ed Schrader’s Music Beat was a warm blanket and aloe after the crash of Deaf Club, Melt-Banana would be your soul propelling through the cosmos after death.

Melt-Banana is one of those bands that may be “Underground” but a large variety of people I know like them. Although my experience with them stemmed from the Grindcore scene and that split with The Locust, Melt-Banana latest albums definitely have a larger appeal to anyone who is interested in music less common.

This became obvious to me based on the local faces I recognized at the concert, not all of whom I would have expected to have such a passionate love for the band. Second to this, the crowd had a lot of folks come out from Los Angeles either because the concert at The Roxy sold out or they were into the idea of going out to the desert for such a unique lineup that’s been touring instead of the same places.

Starting with “Feedback Deficiency” as an almost warm-up to what was to commence, the audience was immediately hanging on to every sound coming from

Ichiro, the Midi controller on Yasuko’s wrist and the massive speakers between them. Ichiro eyes the crowd from above his mask before exchanging glances with Yasuko, who has taken a stance in preparation for what is to come.

As the first minute of “Shield for Your Eyes, A Beast in the Well on Your Hand” plays I am overwhelmed with excitement and I notice everyone else is to. Microphone in one hand, Midi in the other, Yasuko’s feet are planted as the moment comes… In an explosion of percussion and Ichiro’s mass of loops and effects Melt-Banana fires off like a rocket. Less aggressive than some of the music that evening but just as ferocious and fast – everyone is strapped in and along for the ride.

“We are Melt-Banana from Tokyo Japan.” Yasuko proclaims to the crowd, who could not have been more excited. Applause and shouts of joy erupt from the audience as she gives thanks and explains to the

crowd that this is their first tour in the US since 2016 with Napalm Death and Melvins. Shame to have missed that tour. Among the cheers and excited shouting, they proceed.

I am sure everyone there wishes they toured the US more often, but maybe it isn’t so special if it happens all the time. What I do know is that Melt-Banana is one of my favorite artists, not just from Japan but in general.

By the time they get into one of my personal favorites “The Hive” the audience is a mixture of slam-dancing, pogo’s and hands in the air. Almost incomprehensible sounds blast from the speakers as the high-pitched vocals cut across the room.

I have read people who describe the glowing Midi remote on Yasuko like a magic wand but to me it was more like a weapon. Something Tony Stark or a video game Hero would have strapped up to unleash their might.

Again, this was like a rocket to space and you didn’t want to miss out.

“Vertigo Game” was almost like a break as the initial boosters break loose leaving orbit. Moments to reflect in the breaks of music and a beat to dance to, syncopated moments shared by everyone. This was only brief however as they played something new.

I’m not going to give an entire setlist breakdown but it was near perfection. As Stefon from Saturday night Live would have stated “This Melt-Banana show has everything…”

Heavy on songs from Fetch they also played what are some of the most well-known songs from Cell-Scape as well as some Bambi’s Dillema’s best noise. It is awe-inspiring to see not just the massive set of pedals/loops and accessories before Ichiro but his command of his tools and insane set of sounds that he makes. While earlier songs are more just a flurry of guitarwork, the complexity of the latest albums leaves on dumbfounded on what all is happening.

Maybe ¾ of the way through the show the band takes a breath and Yasuko explains to the room, “We are going to play seven older, short songs” then to my delight they hammered through some of their best early tracks, less than a minute each, in true grind fashion. Between each track she lets out a brief “Thank you.”

Powerstance and microphone in hand, Yasuko swings the glowing digital pad in the air with the presence of a Mecha compressed into human size. The front rows of the audience bounce and sway in delight as her vocals reverberated through the room, while Ichiro’s watchful eyes pierced through.

Yasuko holds the remote to the sky almost in praise while Ichiro bangs his head, spikes bouncing in the colored lights.

As their set was reaching it’s fever pitch they laid out some of their most accessible songs from Fetch and dropped one of my favorite cover songs of all time- their take on Devo’s Uncontrollable Urge. While a genuine interpretation of the song, it is undoubtedly and uniquely Melt-Banana. As they finished their set to thunderous applause, the crowd demanded one more song and were obliged to everyone’s excitement and good fortune.

I was standing up high at the sound/lighting booth completely awestruck and full of an almost ecstasy of sorts. I finally got to see Melt-Banana, in my desert, at my friends venue, that I designed the lighting for. Add to this discovering new amazing music with Ed Schrader’s Music Beat, one of my newer but major favorites Deaf Club and the local, lovable homies of Glass Stab.

Walking outside to take a breath of fresh air, I could hear everyone’s conversations – and I love to eavesdrop. The most common comments were variations of the following:

“I can’t believe Melt-Banana played here”

“I can’t believe I got to see Melt-Banana”

“Ed Schrader has an amazing voice”

“Deaf Club was insane”

Melt-Banana Web

MxBx Patreon

MxBx Instagram

“THIS WHOLE NIGHT WAS INSANE”

I know this “Review” was more word vomit than anything else, but I enjoyed this concert more than anything else I have seen in the AV since I was probably a teenager, and even then I cannot think of a specific show I was more excited about or enjoyed more. Perhaps it’s because I was surprised by the mix of music. Perhaps Ed Schrader’s Music Beat was the right balance to keep my mind and spirit refreshed. Maybe it is because Justin Pearson has been such an artistic influence in my life… or maybe it’s because Deaf Club has been the fresh enema I needed in Hardcore music. Maybe even more significantly it’s because it took so many years to finally see Melt-Banana. Maybe not. Maybe none of that.

What I do know for sure is that I won’t miss another opportunity to see Melt-Banana and I am already excited for whatever new music they will release.

Melt Banana 11.12.2022 – w/ Ed Schrader’s Music Beat, Deaf Club and Glass Stab

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