Recently, Dan Volohov got the chance to speak with the two founding members of Melt-Banana – Yako and Agata. In this interview for Punk Globe magazine Yako and Agata speak about upcoming releases byMelt-Banana and the electronic elements in their music, about songwritimg  , about touring with Mr.Bungle and their own influences, Hope you all enjoy!     

Punk Globe: Agata, once described that the foundation of the song is usually one minute long. Then, after the core of compositional structure is formed you, Yako, adds your vocal parts. How can you describe the process of songwriting?

Agata: Lately, I've been making memo-like demo songs of about one minute in length first. Then I expand on the idea and make a track without vocals. At this point, it can be a couple of minutes long, sometimes longer, sometimes shorter. Then I ask Yako to put the vocals on it. Once she put vocals, the impression of the song usually changes. I often feel those tracks without vocal are a bit flat. But when she adds some vocals, the songs seem to come alive. After the vocal part is added, I change the arrangements of the other instruments to match. Sometimes, I also change the whole structure of the song. When this happens, Yako sometimes record some part again to fit the new structure. After repeating this process a few times, the song starts to come together. When the song is almost complete, we do mixing and pre-mastering. When I compare the first demo to the finished song, sometimes the songs are completely different, and sometimes they are almost the same.

Punk Globe: In the beginning of your career, when you just teamed up with and passed the song between Mizu and Melt-Banana there was a certain period of learning. When each of you used to learn to understand each other. When did you reach the point of full-organics ?

Yako: At the time, I wanted to write music that if someone heard our music, they would know that it was Melt-Banana. I think that when we went drum-less and expressed the rhythm with bass and guitar, and then put the vocals on top of that, it became that kind of organic state.

Agata: At the time, Yako didn't like emotional pitches and tones. So did the usual drum patterns that you find in rhythm machines. So, at first, we tried the idea of using buzzers and other sounds for rhythm, but it didn't work out so well. But later, when we found a way to use the bass as a rhythmic noise and the guitar as a kind of sustained noise, I think we reached the point of full-organics.

Punk Globe: Initially, you were writing quite short songs. But then, with “Charlie” you got to longer musical structures. What caused these changes ?

Agata: We had written quite a lot of short songs by the time we made our first two albums and one cassette tape, and we also wanted to try writing some longer songs.

Yako: I think Mr. Bungle tour was a big influence. Hearing great players play great songs every night made me think that songs that don't end quickly like their songs are also fun.

Punk Globe: So how much of trial and error was involved in your writing in the beginning ? Or did you knew what you wanted to do and how ?

Agata: We do a lot of trial and error. I've come up with dozens of different versions of some songs. I rarely have a clear picture of the result from the beginning. Most of the time, I have an initial idea, and then I add various things to it through trial and error. I'm always thinking about how I can write a song faster, but I've never been able to do that until now. Actually, it takes much longer these days.

Yako: In that sense, we're not professional at all. We can't write music in a regular cycle or length. To be honest, we sometimes wish we could, but maybe that's because we don't have the experience to have learned the basics of music composition, or maybe it's just because of our personalities.

Punk Globe: Since 1998, all your LP’s ( within the exception of “MxBx 1998/13000 Miles At Light Velocity” ) got released through A-Zap Records, a label you formed. What was the driving force hehind the starting your own Label ? Creative control ? DIY-esthetics or something else ?  

Yako: A-Zap Records is run by us, but we have help from a distribution company in California called Revolver USA, which also runs a mail-order site called Midheaven.com. I think we are a very lucky band in that sense.

Agata: There are pros and cons to releasing a record independently or on a label. Most labels work well for the band and do things that the band can't do. On the other hand, as we said previously, we are not very good at writing songs according to a plan. So, it's good for us to have our label where we can make our schedule at our own pace.

Punk Globe: You recently mentioned that you don’t have a bay job. And on the one hand – it means that you could do only music, whenever you’d love to. But in such way, you could easily burn out. So how to make it interesting without getting into a routine-type-of-work ?

Yako: I guess it's the same for everyone, but after waking up in the morning, it takes a lot of time just to do the basic things in life such as cooking, cleaning, laundry, etc. When I concentrate on music, time flies, and I always feel like I don't have enough time.

Agata: There are many things to do except just writing or playing music, even if I say I just want to play music. For example, if I get a new effects pedal, it will take time to learn how to use it, get to know the sound, and get used to it. Also, if I buy a new music software, I need time just learning how to use it. So, I also feel that time is not enough.

Yako: Besides, thinking only about music doesn't work for me. I think it would be better to do other things like watching movies, playing games, reading books, etc.

Agata: I think it's great to play music to the point of burn out. If I start with what I want to do, it won't make me feel like routine work.

Punk Globe: There is a new track, “Red Apple, Blue Apple” you shared with your fans of Patreon – what are you working on right now ?

Yako: I'm currently working on the vocal tracks for our new album. The recording was interrupted due to various things from the beginning of 2020. Recently, I've finally started again little by little.

Agata: I've been working on the bass track for a while now, thinking of doing a new cover as an another Patreon exclusive track. However, we're not sure if we can get a license to cover this song at this point, so I'm not sure what will happen.

Punk Globe: How would you best describe your next record ? 

Yako: I haven't finished the vocals yet, so there's not much I can say about the new record yet.

Agata: Almost all basic track recordings were done. When she finished her vocals, we'll do the works I answered in the previous question each other, and then mix, premastering, and then finish it.

Punk Globe: You’ve never been real popular in Japan, despite your cult like status. What was your first world tour like ? And how different was the reactions to your music between your fans in Japan and other countries ?

Yako: When we did our first tour in the US, I thought the audience was very lively. In Japan, everyone was quiet and looks at the stage between songs at the time, but in the US, the audience was talking loudly, which I thought was different. These days, I don't feel that much of a difference, though.

Agata: I thought the same thing. I didn't know what the audience was saying, but I was happy to see that they were having fun.

Punk Globe: Over the years, only you two remained in the band, the only two constant members of Melt-Banana. But what it was like, to go from a full band- to start performing as duo?

Agata: There was definitely a sense of strange at first, but that was mainly about the sound on stage. There was a lot of trial and error with that, and I think we're still in that process. But once Yako started using the Numark Orbit controller, the feeling became not so different from playing with a band.

Yako: There was not much change about song writing. But, as for the drums and bass, Agata had already done a lot of work on the drums and bass when he made the demos, so the process didn't change much, but he did need to arrange them in more detail.

Punk Globe: How do you prepare before going on tour ?

Agata: There are so many things to do when preparing for a tour, including paperwork, but coming up with a setlist is probably the hardest part. We practice and spend a lot of time thinking about the setlist before we go on tour. When I suggest a setlist, it usually ends up being too long. When we get an idea, we try to play it from beginning to end at the studio, but I usually end up thinking halfway through that it's too long.

Yako: Yes, the first idea he brings is always too long. So, we make the setlist shorter and switch the order of the songs to make it more enjoyable for us.

Agata: Since many short and fast songs increase the number of songs in the setlist, we always need to think a lot about the song order. When I saw Municipal Waste and Napalm Death live, I felt that the setlist structure was kind of similar to the structure we do in some ways.

Yako: During the tour, there are times when we want to change the order of the songs again, so we change the setlist little by little during the tour. Also, when we have a curfew, we sometimes have to cut some songs.

Punk Globe: There are some songs of yours like “Candy Gun” which, to me represents a certain dichotomy. Like what the main character tries to do with her gun, and what the reality is. In this sense, is it important for you to put together different controversal elements ? Lyrically, musically…To create a conflict.

Yako: It's interesting for me to include contradictory things, or rather, conflicting things, in the expression. Many things in the world contain conflicting elements. Children may look pure but to be cruel, many colorful and beautiful creatures are poisonous, etc…And as for Candy Gun, it may not be able to kill people like a real gun, but it is a gun, so it can shoot, but it is candy, so it is sweet. But it might be sweet enough to kill you. It's something that creates unexpectedness and confusion, and to me, it's fascinating. That's why I tend to incorporate those elements into my lyrics.

Agata: It's a structural thing, so I think it's also related to the first idea when writing a song. Basically, I like the combination such as quiet and noisy, fast and slow, or sudden stop, muting only certain instruments, etc. Also, I like arrangement that sounds like as if it was a mistake. I'm not sure if it represents dichotomy, though.

Punk Globe: “Teeny Shiny” and “Cell-Scape” were the first albums where you introduced the listeners to the your new, electronic sounds in your music. How much has your electronic sound affected your work ?

Agata: The first instrument I bought for myself was a Roland Juno-106 synthesizer, so I always wanted to use electronic sounds someday.

Yako: Around the time of the first and second albums, we were more interested in noise sounds, and around the time the third album came out, we were, specially Agata was more interested in scratching and sampling, so I guess that's reflected in the 3rd album. Probably when we released Teeny Shiny, we were in a kind of transitional period where we were moving towards something new.

Agata: I was interested in computer software, etc around that time. We started using a computer when we recorded Cell Scape. And at the same time, I was also checking synth software. Also, Yako has been into theremins since the third album was released, and she was having fun playing a Moog theremin and several small theremins. I think those are how we started adding electronic elements to our work.

Punk Globe: When did you discover the electronic scene ? Were l these artists that  became influencesfor you – like Atari Teenage Riot etc.

Agata: YMO was very popular in Japan, so I listened to that kind of music since I was a little kid. I think I knew about Atari Teenage Riot around 1994 or 1995. I can't remember for sure, but I think I first heard them when Joel Amaretto sent us a cassette. He's the guy who started Digital Hardcore Recordings with Alec Empire and others. Then we did a split EP with Joel's band Killout Trash.

Yako: We met Alec Empire and Nic Endo in Berlin once, because Dave Witte, who was playing drums on our tour, was also playing drums in Alec Empire band. They seemed to be having a serious conversation with Dave, so we didn't get to talk much together, but we all together did take a walk at the Christmas market in Berlin.

Punk Globe: Experimenting  with your creativity, you noticed that the process of music creation startingwith synthesizers. I you discovered  the balance ?

Agata: There are many ways to make a song and haven't changed much since long ago. Sometimes I add sound to my favorite sound effects I found from the sound effects library, or sometimes I add sounds to environmental sounds I recorded by myself. Sometimes I just play the guitar. There are also times when I just come up with a drum pattern or bass riff. When I start with a synthesizer, the writing process is similar to when I start with sound effects.

Punk Globe: What drives you to explore something new ? 

Yako: I think our friends' bands and the bands we played with had a big influence on us. At the same time, I don't think much has changed in the root idea of what we are doing since the release of our first album. The environment and technology around us is changing, you know. So, I think these changes in the world are pushing us to explore something new, and changing our expression on the surface.

Agata: I agree, 20 years ago we wouldn't be doing this band in the format we are now, and if we were starting this band now, we would be doing it in the same format we are now. And, simply, for me, I think it's the effect pedals. I like to play noise with pedals I already have or with new pedals. Trying out different combinations can help me come up with something new.

Punk Globe: These days we can’t but notice the significant difference between those who were musicians in the 90’s, and those who came to the scene in 2000’s.  What is the main difference between these two generations of artists, according to your opinion ?

Yako: I think they know a lot more about music and equipment than we did when we were their age.

Agata: I often know about new effects pedals and amps from them. And they usually play so well that I sometimes feel embarrassed for myself.

Punk Globe: At that point, when you started, there were lots of artists sharing the same esthetics in Japan – like Zeni Geva or Merzbow. What helped you to find your identity in this sort of sound ?

Agata: In our days, information was very limited, and we only had what we saw at the shows we attended, records and CDs we bought, tapes given to us by friends, and music played on the radio. So, I think we were able to focus on finding our own identity through these limited musical influences.

Yako: And we were more influenced by the music we heard at the shows rather than the music we listened to at home. Maybe instead of spending so much time listening to all the different music available on the Internet, we used all that time to find our own identity.

Punk Globe: What are the Japanese bands you’re following currently ? Any advice for Punk Globe readers ?

Yako: We haven't played any shows more than one year now and also haven't been to any shows either, so it's a pity but I haven't seen any new bands at all these days.

Agata: We know a music writer and label owner whose name is Ian Martin. He lives in Japan and traveled all over Japan to see many bands in Japan and published a book about Japanese music. I sometimes visit his website. if you are interested in Japanese music that is a little different, it would be interesting to check it out. His website is https://clearandrefreshing.wordpress.com/.

Photo-credits: William Mawdsley