'I can never decide which Melt-Banana album is my favorite, but I always come back to Speak, Squeak, Creak. Teeny Shiny is genius on a slightly different level, and Cellscape has many great moments, but this album is more of an all-out assault, yet still maintaining that bizarrely catchy quality that Melt-Banana is so adept at maintaining in such harsh, abrasive music. The fifteen second songs and percussive vocals may prove impenetrable to a first time listener, who might be better off with the more accessible selections found on Teeny Shiny and Cellscape, but if this music doesn't get you going, Melt-Banana may not be for you.
It's ridiculously hard to predict who will enjoy Melt-Banana. Anyone with an interest in grindcore, powerviolence, etc, should recognize their genius immediately, but it seems that punk fans of all shapes and sizes as well as those who just like original music are strangely drawn to it. I tend to stay away from the subgenres of punk that have harsher vocals, but Melt-Banana is completely different from anything else out there. I say give them a try, because it may very well be a life-changing experience. I first heard Melt-Banana several months ago, and since then, I've barely listened to anything else, and I drove 400+ miles to see them live, which was an amazing experience which I can't recommend enough (the show, not the driving).
As far as the actual music, it's just amazing. Few other words can actually capture it. It changes directions constantly, coaxes bizarre noises out of the guitar, and has vocals which act as a percussion instrument more than the carrier of a message (the actual lyrics being a nonsensical jumble of english words and bizarre onamatopoeia). Everyone should be exposed to it at least once, although it may prove too much for some.
If you're already a fan, make an extra effort to find this album, as it's worth it. If you're not a fan, get this or Teeny Shiny first, and if you like that, you'll probably end up owning all of their albums anyway.'
Possibly Melt-Banana's best release - 5 / 5
Written byDavid Bockelman "anarchist" @ www.amazon.com
'Based on continous analytical exposure to this band, ie. listening to, reading of lyrics, seeing live, and talking to in person, I have reached a logical conclusion. The members of Melt Banana are obviously highly-intelligent aliens from some wonderful far away planet. They must have came to this planet to share their wisdom, and were struck with how [weak] our earth music is. We should embrace their musical lesson. Some people may not be ready for the sheer brilliance of this insanity, but don't worry, one day perhaps you will evolve. This album is the earliest recorded works, and sure, not the best quality. But what one must keep in mind is that these are the seeds that grew into the Melt Banana you (should) know and love. The foundation of aural perfection. I suppose a first-time listener to this band's particular creations may be better off with a more crowd-friendly release, such as Teeny Shiny or Speak Squeak Creak. But for those already blessed with an appreciation for the vision that is MB, get this album, and rejoice in being better than everyone else.'
If you don't love melt banana, you're doing something wrong - 5 / 5
Written bywandering primate: "resistance is fertile" @ www.amazon.com
'As the subway pulls into Shibuya on the Yamanote Line in Tokyo, nothing can prepare you for the sensory onslaught that awaits. Leaving the station via the Hachiko exit reveals a piercing overload of blinking neon, tennis court-sized media screens, and a relentless and chaotic surge of humanity through the streets that spiral dizzyingly off into the horizon. As a city gripped by paroxysms of furious activity, Tokyo seems to be a very reasonable home for the spasmodic, psychotic hardcore of Melt-Banana. And if you've spent a little time in the world's most baffling metropolis, this reissue of the equally startling tech-punk classic Scratch or Snitch should resonate with familiarity.
Melt-Banana are not the only purveyors of excess to emerge from Japan, but like spiritual brethren Boredoms and Ruins, their best releases stand as a testament to the power that a well-produced and inventive punk band can command with focus, technical prowess, and sick levels of ambition. Heavyweight Chicago auteurs Steve Albini and Jim O'Rourke recorded and mixed this 22-track, half-hour punk rocker back in 1995. The presence of two of the industry's most respected creative technicians infused this energetic four-piece with a shot of credibility that, in light of this band's musicianship, almost seems gratuitous. Evidently, nothing so drastic as a remastering was ever going to be needed for this repressing.
When forming Melt-Banana, Yasuko Onuki tore through ranks of personnel, finally settling with the guitar and bass duo of Agata and Rika, who provide electro-convulsive therapy to compliment Onuki's rapid-fire Japanese pop-culture musings. Her search paid off: The maelstrom that ensues here is never less than impeccably rendered-- one of the most coherent and illustrative recordings of the notoriously sloppy punk genre. "Rough Dogs Have Bumps" shows Melt-Banana in full control of an adrenaline-heavy hardcore frenzy that twists Heavy Metal guitar clichés into a delirious romp. Nonsensical as they predominately are, Onuki's frenetic utterances slice through the mix, setting the band on a jagged path fraught with hysteria and anger. Each instrument twitches fervently yet clearly in the expert mix that evokes Tokyo's busy streets: crammed with activity, yet immaculately litter-free.
Scratch or Stitch's track titles blare like the advertising slogans and brand name nonsense flashing on Osaka's electrical billboards. "DIG Out!", "DisPosable Weathercock" and "BuZZer #P" combine a parody of pop culture with a lively humor that sits well with the delirium of their contents. The 1xBD-minute average track length echoes shortening attention spans precipitated by the quick-fire editing of youth culture TV, while Melt-Banana play with Japan's preoccupation with elaborate packaging and presentation by building layers of sound before ripping them to burning shreds as Onuki gleefully narrates their demise.
22 tracks might seem a bit ambitious, even for such an inventive and technically varied act, but then, hardcore punk is an ordeal at the best of times. The inclusion of the stunted 10- and 20-second "TYPe B for Me" and "A Finger to Hackle" (amongst other sub-minute explosions) does something to punctuate and shape the record, but tracks tend to bleed into one another, the quirky titles being all that separate the likes of "It's in the PillcaSe" and "Sick ZiP Everywhere". Thankfully, Melt-Banana do have a healthier than usual tendency toward riveting experimentation, judging by the torture chamber soundscape of "EYE-Q Trader" and the lycanthropic transformation from gentle to rabid in "Back to the WomB".
Scratch or Stitch sits among subsequent Melt-Banana releases with an air of superiority. Although influences and comparisons are not difficult to find, it's a mistake to bundle this album into any anonymous hardcore classification. What you're listening to may seem to be sensationalist and carnal, but that belies the album's wry center, steeped in cultural exposure. Hardcore? This release is Tokyo-core, and looking out across this sleepless behemoth of commerce, there's nothing accelerated or excessive about it.'
'Charlie was Melt Banana's 3rd album and the first to be released on their own A-Zap imprint. The album marks quite a departure in the band's sound, with longer, and dare I say it, more accessible songs than on their previous recordings. The recording is characterised by a heavier electronic presence. Just listen to the barroom brawl that is 'Spathic!', the track melds the band's playfully aggressive guitar riffing with a verse part constituted largely by layered samples of breaking glass as the primary accompaniment to Yasuko's voice. As a mark of how far the groups sound had moved into more listenable terrain, the opening riff to 'Tapir's Flown Away' sounds not a million miles away from Arctic Monkeys' 'Brianstorm'. The track stands as a comparatively comprehensible piece of punk rock riffing. Mike Patton puts in an appearance for the vocal collage 'Area 877 (Phoenix Mix)' and sounds almost exactly like the Tasmanian Devil in so doing. This, of course, fits the bill perfectly and sets up the cut and paste speed metal of 'Giggle On The Stretcher' and 'Section Eight'. An undoubted highlight in the catalogue of an inimitable band, Charlie is mind bendingly ferocious and monstrously good fun to boot.'
'MxBxFor a European like me (a dude from the "old continent"), Japanese (pop) culture definitely has a certain appeal. I'm not sure - I've never even been close to Japan, nor have I read socio-cultural treatises, etc - but it seems to me that universal themes like sex and violence are treated in an altogether different matter. The Japanese seem cruder and fearless explorers of the outer limits of such topics, which is also noticeable in the publications/bands/artists that manage to cause controversy in the Western world. Just think of filmmaker Kitano Takeshi and the legions of obscure cinematographers Tarantino openly flirts with, their most popular export product manga; but also the emergence of a bunch of pioneering bands like Zeni Geva, The Boredoms and Ground Zero, who raised the bar for noise bands. Also John Zorn - continually breaking down stylistic and sonic barriers - has a notorious fondness of the country and its culture.
It's no surprise then, that Japanese noise-core outfit Melt Banana would eventually release an album on Zorn's Tzadik label, which in the meantime even created a "New Japan"-series. MxBx 1998/13000 Miles at Light Velocity was recorded live in the studio and when you hear it for the first time, you'll either have your jaw dropping to the floor (that would be my reaction) or you'll totally freak out and run to the volume button as fast as you can to turn the goddamn thing off (that would be my girlfriend, Ms. Nervous). This album is so fast, hyper and energetic it'll blow you off your socks. 26 songs in 39 minutes, six of 'em running longer than 120 seconds, eight of 'em clocking in in less than 40 seconds. You might compare 'em to the ultra-core that burst out of the scene after the mergence of Napalm Death and their shock-tactics, but that would be a dismissal of their undeniably personal approach and sound, and God, does that sound crack me up. While the rhythm section still sounds fairly traditional, it's the hysteric vocals of Yasuko and the devastatingly guitar work of Agata that ensured this band its reputation. Yasuko basically comes off as the clichéd cute Japanese girl, but one on a bottle of speed pills, reciting incomprehensible lullabies, hiccupping ("Wedge"), yelling along to the martial attacks of the rhythms section ("Blandished Hatman"), taking her time to carefully phrase short lines or even words, moan ("Some Kind of ID") or scream at the top of her tiny lungs ("Scratch or Stitch). Agata mixes hardcore's fury with thrash's heaviness, but that's not nearly all as he displays an array of sounds that's occasionally stunning, running from almost futuristic effects to chicken scratchin', circular riffing, angular twists and turns, shrill sirens, neo-surf, and sample-like madness.
With the velocity and relentless energy this album has, it's hard to single out highlights, but the "longer" songs usually display the band's uniqueness to full effect, especially "Circle-jack," the surf-core of "Tapir's Flown Away," the militaristic thump "It's in the Pillcase" and the insane cover of "Surfin' USA" (the Ramones meet Naked City!). It's quite obvious this is a challenging and adventurous album, yet after the first few listens I never again considered it very extreme. Granted, it's fast and extremely energetic, but it also sounds exceptionally focused and tight and even though Agata never ceases to experiment with distortion and feedback, the end result never becomes a sonic mesh. Of course, it's cartoonish, but it's also a lot of fun, a hectic madness you have to experience at least once in your lifetime.'
'"Drum-n-bass is just fast techno. Flip a switch, twiddle a knob, 33 to 45, instant D&B.;" Tell this to a junglist, and he'll bite a chunk out of your arm. Or, tell a punk that he's just listening to sped-up garage rock, or a hardcore devotee that his music is just even faster punk, and you'll be met with a similar response.
It's both temptingly simple and degrading to these genres to suggest that the speed they're defined by is simply a variable that can be tweaked to produce another style. But what's often overlooked is how difficult tempo is to master; anyone who's ever been in a band can attest to the challenges involved in starting at the right speed and keeping a beat with three other people. And it's at the extremes of the tempo spectrum that some of the most musically thrilling artists reside, proving that speed can be seen not only as an aesthetic quality but also as a genuine aesthetic in itself.
Take Tokyo, Japan's Melt-Banana, for instance. "Free the Bee," the first track on the band's new album (somewhat unfortunately entitled Teeny Shiny) comes off as drum-n-bass. Until you realize the drumming is live, and that what you thought were samples of police sirens are actually guitarist Agata's high-pitched string twistings. The blindingly fast beat continues under a loopy guitar riff and vocalist Yasuko's barked rhymes, only to shift into an even higher gear when the crushing chorus hits.
As on Melt-Banana's previous four LPs, speed is the rule here. Although continuing in the tradition of 1998's Charlie-- a savagely well-produced album that found the band's songs consistently stretching beyond the two-minute mark in search of more cohesive and varied song structures-- the band rediscovers the breathless energy of their earlier 25-song-apiece albums, Scratch or Stitch and Speak, Squeak, Creak. Yasuko neatly demonstrates that speed isn't a function of testosterone as she spits out syllables chosen more for their sound than their sense.
Even when the main vocal or guitar part (the term "melody" doesn't quite fit) slows down, as on "Lost in Mirror" and "Moon Flavor," the complex drum patterns churning underneath still seem detailed at the subatomic level. The brittle, martial rhythms provide the perfect counterpart to Agata's amazingly versatile guitar work, which can change from staccato skullfuck to elastic playfulness in an instant. In "Third Attack," the guitarist imitates a turntable, a yappy little dog, and a power drill, all before the chorus kicks in.
Agata's playing invites comparisons to Rage Against the Machine's Tom Morello, and Yasuko's fixation on Public Enemy and Cypress Hill would seem to tie the group to the "rap-rock" movement. Luckily, none of these comparisons come anywhere close to being accurate. Though influences can be picked out of Melt-Banana's sound (most immediately, hardcore and noise-rock), the end product is wholly unique, seeming to subsist purely in the speed at which their music is played.
The band itself seems to be under a mortal imperative to work as fast as it can; the production certainly falls flat in comparison to Charlie, and it's a sure bet that the entire thing was slapped onto tape in a day or two between live shows. Their constant touring is usually attributed by fans to Agata's "rare blood malady," an unspecified but eventually fatal condition that spurs the band to play as many live shows as they can together. These sources are a bit dubious; however, the guitarist fuels the rumors by wearing a surgical mask in concert.
For someone like me, though, whose biggest speed fix comes from playing along with the "fast money" round on "Family Feud," this rough taste of pure energy beats half an hour with Louie Anderson any day of the week.'
'Going on five studio records, Melt Banana are at a crossroads. Over the past decade (yes, the band is older than your cousin in the 3rd grade), they've managed to practically redefine hardcore punk while never really breaking free from their own self-created sound universe. The staggering consistency displayed in their run of releases is unmatched, even among their more intense countrymen Boredoms and Ruins. Some people say all their songs sound the same, and while I'm hardly willing to go that far, I will say that if intense tech-punk isn't your thing, you can safely avoid all of their records. The discerning listener will recognize small deviations in the formula over the years: gradual integration of electronics and post-rock production, longer songs, occasionally slower tempos. However, Yasuko O's voice is still way up in the stratosphere, Agata's guitar is still running laps around Eddie Van Halen's worst nightmares, and Melt Banana, for better or for worse, occupy the same place in the hearts of indie and experimental listeners everywhere as they have throughout their existence.
The question is, do you still want to hear them turn out another record? Seeing them live is one thing, as like clockwork, every year they blow whomever might be sharing the bill with them off the stage. However, conventional wisdom (certainly not always to be trusted) says that one only needs so many Melt Banana discs. In this case, I'd say conventional wisdom had a very good point - but it doesn't account for everything. Like Teeny Shiny and Charlie before, Cell-Scape improves on just enough to be interesting for anyone curious, and probably another must-have for fanatics. I fall somewhere in between, and thus can recommend it with only the slightest caveat that if you hated the band before, it's not likely to change your mind.
That said, there is quite a bit here to preach to the converted: impossibly speedy workouts like "Key is A Fact That A Cat Brings" and "Like A White Bat in A Box, Dead Matters Go On" remind me that there is no better band on the planet at ramming a punk jam down my throat. Additionally, it should be obvious that Melt Banana possess the best song titles in the business, and along with them, some of the coolest, sprawling poetic lyrics. "Shield For Your Eyes, A Beast in the Well on Your Hand" busts out of the gate with an almost nu-metal sense of pounding and over-engorged mix. Agata plays a nifty, surprisingly straightforward riff over Rika Mm's perpetually motive bassline. Yes, the lightspeed acrobatics return at the mid-section, but the new wrinkles are what distinguish Cell-Scape from its immediate predecessors.
The most obviously new sounds occur on the one-two jab "If it is the Deep Sea, I Can See You There" and "Outro for Cell-Scape" that ends the album. The former tune begins as pro-forma MB speed etude, but just as suddenly transforms itself into an almost poppy piece of indie rock, with Yasuko defying all odds by actually singing! It's a very interesting move on their part, and perhaps foreshadows future strategies. Then again, the extended electro-ambience of "Outro" suggests that they'd rather be psyching it up with Yamatsuka Eye. It's actually a little reminiscent of the last track on Charlie wherein the preceding boisterous half hour was made null and void by a thick wall of impressionistic goo. Again, an interesting move, and one of the reasons I have no problem recommending the disc.
I've hoped for a while that Melt Banana would drop their masterpiece, their grand statement to consolidate their power into a tightly wound critical mass. I see a few more people show up every time they come through town, and now is as good a time as any for them to really take off beyond the realms of fringe noise bands. Alas, though hardly a misstep, Cell-Scape is not that masterpiece. Nevertheless, I'm as tuned in as I ever was to their next move.'
'When Melt-Banana play live these days, at some point in the set it is announced that they'll be playing some "shorter songs" such as the ones collected here. These 56 hardcore/noise rock vignettes might be difficult to swallow for fans of their later and longer work, but are essential to fully understand the band.
What do we have here? Noise and fast punk, basically, but spun into combinations so original and jarring that it grabs your attention and holds it. Often uncomfortable, but always compelling. Ultimately, very difficult to describe.
I would say that this disc isn't one I listen to straight through. It isn't an album, after all. Instead keep this in your library and slip these songs into the mix during your normal music consumption routine. You will please MxBx fans and intrigue (or freak out) the uninitiated. '
Essential disc from an innovative punk/noise band - 5 / 5
'It's amazing how much Melt Banana has done with so little. Watch the recent documentary American Hardcore, which chronicles U.S. hardcore in the early-'80s, and you'll be struck by the contrast between the bands' nonconformist ideals and their cookie-cutter music. A few of hardcore's biggest acts, like Bad Brains and Black Flag, were developing their own sound, but otherwise, the genre quickly became a formula characterized by galloping drums, barre chords, and simple, declamatory vocals sung in patterns similar to those of early rock 'n' roll. It's hard to develop your own sound if you're too busy playing as fast as possible and worrying about the guy in the front row who might just want to beat the crap out of you.
Since their 1994 debut album, Speak Squeak Creak, Japan's Melt Banana have used aspects of pop, noise and dance music, but the same hardcore staples have always kept them together. They're not your average hardcore band, though. Incredibly quick tempos don't faze them; Ichiro Agata's guitar work sounds like the barre chords of old spinning in a blender; and Yasuko Onuki's vocals acknowledge hardcore orthodoxy but aren't beholden to it. Bambi's Dilemma is Melt Banana's seventh studio album, and they're just as astonishing and baffling now as they've ever been.
I've heard Bambi's Dilemma described as a turn toward pop, but its second half features some fearsome noise, and even the first half is less poppy than their last full-length, 2003's Cell Scape. Beyond that, describing the important things about any one Melt Banana record mostly involves saying things that could be said about any of their albums - they've always been interesting for about the same reasons. But that doesn't make opening a new Melt Banana CD any less interesting; their sound is so distinctive and they do so much with it that the possibilities for variation seem almost infinite.
Take Yasuko's lyrics, for example - you'll need the lyric sheet to understand them, but once you have it, there's a lot to discover. At first, her words seem meaningless, just chunks of phonetic clay to sculpt around musical phrases. On that level, they're brilliant, as Yasuko grabs every word she can find and fits it perfectly: "Who wants to be in panic / Bugs are all in pancakes / We are all ecstatic."
Well, maybe you have to hear it. But the lyrics also work on another level: read a little closer, and it's easy to imagine that all the weird and colorful descriptions are part of the same hazy dystopia. Yasuko always seems to be writing about bodies that don't work right ("What would I do if my skin's so green?" she asks) - maybe the lyrics to Bambi's Dilemma could be read as the dreams of a dying person, where the moon is made of plastic and pets don't have faces.
Actually, that's probably not what Melt Banana intended, but the point is that it could be. The lyrics are evocative enough to activate the listener's imagination, and when Yasuko sings, "An earth-size trash can / Where can I get one?" it's hard to avoid the thought that it's an oblique political statement.
Meanwhile, Agata's blend of guitar buzzes, squeals, bleats and pixelated shimmers is just as thrilling as it was five or 10 years ago. The sounds lose some of their "what-the-hell-was-that?" shock value once you see the band live and realize that most of the weird sounds come from pedals and not from anything Agata does to the guitar itself, but that's not the point. The sounds themselves, weird as they are, aren't the source of the thrill - it's the way they're placed unpredictably in a blitzkrieg of sound. Melt Banana's bassist and drummer have more traditional roles than Yasuko or Agata do; the rhythm section's chief virtues are its extreme agility and virtuosity, which allow Yasuko and Agata's weirdness to make the most impact.
What finally separates Melt Banana from those bands on American Hardcore is that the latter attempted to shock audiences with the newness of their form - they aimed to dislocate listeners with pure speed and adrenaline. That form isn't new anymore; it calcified quickly. But Melt Banana manage to inflict a similar sort of shock with rapid-fire changes, weird sounds and labyrinthine lyrics. In that sense, they're really a 21st-century hardcore band. In fact, they were 21st-century well before the 21st century even started.'
Written byCharlie Wilmoth @ www.dustedmagazine.com
'Melt-Banana is a really loud band from Tokyo, known almost as much for its distorted guitar as for its Animaniac, video-game-effects-at-hyperspeed tethered to equally rapido drum beats. And singer Yako’s screaming cadences are so loud and often distorted that it doesn’t matter what language she sings in; it still sounds awesome. Don’t be mistaken by the band’s “Lite” side project, which is Melt-Banana substituting Agata’s guitar for synth programs and samplers and the revolving door drummers replaced by beats. Everything else is pure Banana. The end result is the kind of music teenage Terminators would mosh to. There’s one song, “Cat and the Blood,” that uses ambient spacey samples zig-zagged by shrieks that sound like weapons over Yako’s kitty Armageddon chorus “Ca’s singing like Meow, more blood, no trap, while dogs sleep tight.” The lyrics are in English, and they even provide the lyrics, and they’re actually pretty good for a second language. “Dog Song,” Yako’s ode to the faithful canine, is my personal favorite: “He likes some bones, He likes to bite hard, He Likes some toys, He likes to run fast, I hear some dog barks…” And then she lets out the most awesome electronic distorted barking freakout in the history of recorded music (maybe they could sell it as a ringtone?). This music makes me feel so hyper. If I was back in Echo Park, I would take this CD to the tunnel adjacent to the Echoplex, and I would get really high and play this CD on a boom box full blast, so the echoes would ricochet in every direction. If any of you try it, and I highly recommend you do, let me know how it sounds.'
Written byScott Schultz @ www.larecord.com
Melt-Banana - это очень своеобразно мыслящие (хотя, чего еще можно ждать от японцев) люди, взявшие за основу экстремальный панк и прикрутившие к нему атонально-нойзовые гитары, по-детски высокий женский вокал, а впоследствии еще и электронику. Получился очень даже веселый и утонченно-эстетский аудиотеррор, до высот которого американским и европейским группам с их прямолинейной агрессией еще расти и расти.
1. Tail in Garbage (Tekepake) (01:16) 2. Rragg (00:57) 3. In x Out = Bug (01:21) 4. Scrubber (00:17) 5. So Unfilial Rule (00:11) 6. Dust Head (01:12) 7. A Teaspoon of Salt (00:38) 8. Stick Out (00:42) 9. Mouse is a Biscuit (01:05) 10. 55 Hands Need to Cut Down (01:29) 11. P-Pop-Slop (01:26) 12. Smell the Medicine (02:32) 13. Switch (02:18) 14. P.B.D. (01:43) 15. Mind Thief (01:39) 16. Chicken Headed Raccoon Dog (01:47) 17. Cry for More Fish (00:19) 18. Screw, Loose (00:10) 19. Cook Cool Kyau Kuru (01:14) 20. Scissor Quiz (01:33) 21. Too Many to Dispose (00:28) 22. Blandished Hatman (01:15) 23. Cut Off (02:02) 24. Pierced Eye (02:06) 25. (Untitled) (02:35)
1. Just Grub & Run (00:53) 2. Talk Like Pop (00:50) 3. Shining Hatcher (00:44) 4. F. Part One (00:36) 5. To the Core (00:38) 6. F. Part Two (01:06) 7. Shuuuuuuuuuuuuuuuuu (00:26) 8. Bunny Wasted a Month Waiting (01:09) 9. Party-Hat (00:44) 10. Shouting About Love (00:25) 11. Sonic Turtle (00:44) 12. Bored Elephant (01:42) 13. Up and Down, 1,2,3..... (01:16) 14. 1 to 11 (00:54) 15. Dried Up Water Park (01:11) 16. How to Say 'Rip Them Off', Repeat After Me (00:29) 17. Interval........ (02:56) 18. Locoweed in the Bottle (00:21) 19. Ketchup-Mess (01:20) 20. We Love Choco-Pa! (00:14) 21. No Way to Hear (00:10) 22. We Had Tails in the Old Days (00:52) 23. So Far So Bad So What? (00:26) 24. Frog Swims the River Down Giggling (01:06) 25. I Hate It! (Long version) (01:38) 26. Who Cares? (00:21) 27. FMFYYD (00:06) 28. Pie War (00:48) 29. Ants Living in a Narrow Box (00:48) 30. Crayfish Song (00:29) 31. 6 Feet Long for Her Neck (00:17) 32. Picnic With Panic (Long version) (01:49)
1. Plot in a Pot (01:19) 2. Scratch or Stitch (01:00) 3. Sick Zip Everywhere (01:51) 4. Disposable Weathercock (01:43) 5. Ten Dollars a Pile (00:59) 6. Ketchup-Mess (01:25) 7. Buzzer #P (01:47) 8. Rough Dogs Have Bumps (01:47) 9. Iguana in Trouble (02:22) 10. It's in the Pillcase (01:25) 11. Test: Ground 1 (00:29) 12. Zoo, No Vacancy (00:13) 13. A Finger to Hackle (00:21) 14. Type B for Me (00:10) 15. His Name is Mickey (At Last She Got Him...) (00:19) 16. Back to the Womb (02:46) 17. I Hate It! (00:58) 18. What Do You Slaughter Next (01:37) 19. Eye-Q Trader (01:48) 20. Dig Out! (02:23) 21. Contortion Out of Confusion (01:37) 22. Pigeons on My Eyes (Go to Bed!!!) (02:33)
1. Scratch or Stitch (01:34) 2. Rragg (00:54) 3. Wedge (01:08) 4. Seesaw Semiology (01:14) 5. Circle Jack (Chase the Magic Words, Lego Lego) (02:11) 6. Sick Zip Everywhere (01:48) 7. Disposable Weathercock (01:49) 8. Mind Thief (01:36) 9. Blandished Hatman (01:06) 10. Iguana in Trouble (02:04) 11. Tapir's Flown Away (02:48) 12. His Name is Mickey (At Last She Got Him...) (00:39) 13. We Love Choco-Pa (00:18) 14. Some Kind of ID (00:14) 15. Stick Out (00:40) 16. Scrubber (00:22) 17. Screw, Loose (00:09) 18. First Defy (00:11) 19. So Unfilial Rule (00:09) 20. Spathic (02:42) 21. Picnic in Panic (02:11) 22. It's in the Pillcase (02:21) 23. Surfin' USA (02:34) 24. Bad Gut Missed Fist (01:43) 25. Ketchup-Mess (01:24) 26. Plot in a Pot (05:20)
Сборник старых вещей, перезаписанных вживую в студии. Стоит внимания по двум причинам: во-первых, по энергетике новые версии вчистую уделывают оригиналы, что, казалось бы, невозможно. А во-вторых, продюсировалось все это дело неким персонажем по имени Джон Зорн, в чьей студии и проходила сия оргия.
1. Free the Bee (03:30) 2. Flash Cube, or Eyeball (02:54) 3. Lost in Mirror (02:35) 4. First Contact to Planet Q (00:51) 5. Warp, Back Spin (01:46) 6. Third Attack (01:29) 7. Cub, Not Cube (02:50) 8. Flip and Hit (01:07) 9. Bright Splat (Red Point, Black Dot) (02:30) 10. Skit Closed, Windy... (01:02) 11. Moon Flavor (+ hidden track) (09:45)
1. Phantasmagoria (01:30) 2. Shield for Your Eyes, a Beast (04:02) 3. A Dreamer Who is Too Weak to Face Up to (03:02) 4. Lost Parts Stinging Me So Cold (03:10) 5. Chain-Shot to Have Some Fun (03:13) 6. Like a White Bat in a Box, Dead Matters Go On (03:33) 7. Key is a Fact That a Cat Brings (02:23) 8. A Hunter in the Rain to Cut the Neck Up in the Present Stage (02:33) 9. If It is the Deep Sea, I Can See You There (03:29) 10. Outro for Cell-Scape (10:11)
1. Stick Out (00:48) 2. So Unfilial Rule (00:14) 3. Mind Thief (01:45) 4. Screw, Loose (00:23) 5. Scrubber (00:16) 6. Pierced Eye (02:11) 7. Ketchup-Mess (01:16) 8. First Defy (00:10) 9. Iguana in Trouble (01:26) 10. It's in the Pillcase (01:17) 11. Rush & Warp (01:04) 12. Picnic in Panic (02:00) 13. Buddhism Core (00:55) 14. Hangnail (Let It Go) (00:39) 15. No One Wants Next One (00:38) 16. Sicklist on Fire (01:06) 17. One Dimensional (00:20) 18. Not D, But M, Also (00:43) 19. Mind Thief (Live) (01:35) 20. P-Pop-Slop (Live) (01:29) 21. Making Fuss, Fuss, Fuss (00:37) 22. Turtle vs. Bunny (Who Won?) (00:56) 23. Pig to Dog (00:19) 24. Bird-Like Monkey in Cave, Singing in Drops (02:07) 25. Bad Gut Missed Fist (01:09) 26. It's Not My Fault (00:22) 27. Neck on Me (00:26) 28. Stop the Cook-Cu Test (00:25) 29. No Doubt (01:03) 30. Scooped Brain in a Cup (01:02) 31. Capital 1060 (00:53) 32. How to Parlare (00:27) 33. I Say, 'Shoot!' (00:40) 34. Minus-Minus-to One (00:23) 35. Call Me Please-6824 (00:22) 36. Popsy Teeth in Red (00:20) 37. Blackout Screen (01:56) 38. To be Continued (00:24) 39. $10 a Pile (AX Version) (02:00) 40. Disposable Weathercock (Helpful 80 Points Version) (04:05) 41. Y-Axis (00:30) 42. Aquatic Bee (01:51) 43. Wedge! (01:57) 44. Seesaw Semiology (00:59) 45. Cough, Coughed, Coughing (00:55) 46. Q for Quinine (01:00) 47. Bird-Like-Monkey / Part 2 (00:07) 48. Least Clipper (01:47) 49. Baby Buggy Spitted (01:18) 50. Drill the Dentist (00:39) 51. Last Finger Split (01:47) 52. Wrest the Fist (Just for Reflection) (04:04) 53. Dead Spex (01:01) 54. Sonic Brain Burst (01:11) 55. Ether Twisted (01:12) 56. Shoot the Moon (00:58)
Компиляция материала с ранних ипих, синглов и сплитов (которые сентиментальные японцы из Melt-Banana ласково называют "ежами" в память о своей самой первой ипишке.).
1. Spider Snipe (02:12) 2. Blank Page of the Blind (02:19) 3. Cracked Plaster Cast (02:14) 4. Heiwaboke Crisis (01:36) 5. Cat Brain Land (02:11) 6. Plasma Gate Quest (01:41) 7. Type: Ecco System (03:58) 8. The Call of the Vague (02:04) 9. Green Eyed Devil (02:24) 10. Crow's Paint Brush (Color Repair) (02:39) 11. T for Tone (00:33) 12. Slide Down (00:49) 13. Lock the Head (00:44) 14. One Drop, One Life (00:55) 15. In Store (00:56) 16. Dog Song (01:20) 17. Chain Keeper (01:23) 18. Last Target on the Last Day (05:03)