Review Summary: "I'm still here, I'm still lost On this fucking dear planet!"
The country of Japan located in Asia has a music scene which is beyond unconventional as much as it is fascinating. From genre-defying acts such as
Dir en Grey and
Sigh, to even polarizing novelties like the (in)famous idol/metal group
BABYMETAL, these are the types of outfits you should never pass up; that is, unless you couldn't really care less about them. But down in the eccentric realm of Tokyo prevails a wacky gang of noise rock misfits known almost exclusively for the band's lead vocalist's style – alongside a few genre blends here and there. These guys are referred to by the odd, yet whimsical name
Melt-Banana.
Established in 1992 in the aforementioned capital of Japan, Melt-Banana is currently a two-piece band who issued an overall amount of ten albums and have toured worldwide – extensively, of course. Yasuko Onuki is the entourage's frantic frontwoman, whilst Ichirō Agata plays guitar and provides a number of atonal effects, usually with said instrument. Over their career, this wild twosome also had other bandmates in Rika Hamamoto (bass), Toshiaki Sudō (drummer), and Oshima Watchman (second percussionist); unfortunately, these three eventually called it quits with Melt-Banana. On October 1, 2013, this two-person unit would release their seventh full-length offering
Fetch, the band's latest material put out in six years since the record's predecessor
Bambi's Dilemma.
Featuring a healthy total of 12 tracks – and clocking in at exactly a length of 32:10 – a smorgasbord of the songs which make up this cocaine fest are primarily fast-paced, albeit catchy and somewhat on the dissonant side of sounds. Melt-Banana's unique sense of trying to amalgamate their noisy variation of rock 'n roll music with pop sensibilities and the occasional electronics work extraordinarily well within their favor; the adrenalized ditties - “My Missing Link,” “Lefty Dog (Run, Caper, Run),” and “Red Data, Red Stage” - can clearly force this one statement upon its listeners. This isn't to say the dynamic duo are incapable of showcasing understatedness, if the droning vibe of “Zero+” is any indication. Melt-Banana, to be frank, never really misses the marks they attempt to get down pat.
Instrumentation-wise, the overwhelming batch of guitar techniques utilized by Agata suit
Fetch's overall nature, and his skills do their part on complimenting Yasuko's singing and shouting throughout the album almost perfectly. There are minor instances where he goes overboard with the effects that he's trying to capture, such as right in the beginning of the direct approach enveloping “The Hive”, and certain portions of the CD opener “Candy Gun”; on the other hand, perhaps this isn't so much his fault as it is the synthesized background music, notably the drum programming. Yasuko's presence on
Fetch is the love-it-or-hate-it aspect for the record – and Melt-Banana's existence, generally speaking. Her vocal style largely consists of frenzied yelps and chirps, and her lyrics are written in English; in a nonsensical manner, of course, considering the group's nationality (for the most part). She ends up, however, making the CD far more of a treat than it needs to be, as her performance is quite distinctive.
The production which dances and gyrates all over the release noticeably sports a hi-fi quality, as do other bits and pieces of Melt-Banana's recent work. Arguably this would result in
Fetch having more accessibility to it compared to the band's discography in the past, though not by much. Hell, I'm not even sure if people still have the ability to overlook Yasuko's talents because of the harmonies and beauty unto themselves But when all is said and done, the recording sounds polished enough for one to discern the quirky contents of the behemoth that is this album, whether it be the basslines or Agata's pedal effects he uses via guitar. Honestly, an effort like this would've been more endearing had it been given an underproduced tone, but there's truly no harm committed either way.
Fetch outright kicks ass once everything surrounding its magnificence is taken into account. Surely you jest the moment your consciousness decides to vaporize the album's whole gamut of fun and bizarre tunes, for this isn't just a studio album comprised of obnoxious noise and Yasuko's ear-gratingly laughable voice; once your eyes stay open until the date of your death, you'll realize that this is an album encompassing grateful pandemonium and Yasuko Onuki's pleasant-to-the-ear, distinguishable vocals.
