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saw MELT BANANA last night...


cantoXIII

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...and it {censored}ing rocked, aside from some hipster trashy {censored} who thought cutting right in front of people who had been waiting in the front row [right in front of the pedalboards] wouldn't cause a problem. my friend and i didn't let that {censored} happen for a second...he called her out and went right into a larry david moment...it was incredible. BUT I DIGRESS...

 

pedals: i don't have a digital camera, so no shots [i apologize]. however, here is my interpretation of his effects usage [didn't see the bassist's gear].

 

he used 2 sunn beta leads into marshall jcm800 cabs placed on both sides of the stage along with a gibson sg for the entirety of the show. from what i could tell in a dark room, he used:

 

fm4.

whammy iv.

goatkeeper trem.

ps2.

a few dd-?'s.

rv5.

and honestly, i don't really know what else there was, but a lot of it was boss.

 

first off, he used the whammy literally every song, multiple times. i'd almost say it was excessive, as his tone was already trebley and he totally did not need to be raising it all another octave, but thats IMO. he mainly used the boss digital delays with infinite repeats for quick bursts of noisy interludes. it looked like they were all set for slightly different times to create rhythmic loops instantaneously. all of his squeals/slides were amp distortion with a slide and the digital delays. the kicker though, was the lightfoot labs goatkeeper. the whole show i had my eyes on it, waiting to see how he used it. he used it once, and guess what for? A {censored}ING BLONDIE COVER. they played 'heart of glass' and he tapped it on a few times, but that was the extent of its use. kinda upsetting he didn't use it more, but whatever.

 

in all, it was a totally sweet show. i'd recommend seeing them to anybody at all interested in trebley tone, whammy usage, weird glitchy noises or a short asian bassist who was kind of attractive, but only in very specific lighting/angles.:D

 

:thu:

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I saw them open up for Mr Bungle a while back and when they played their first song, it was like getting hit in the face by a flamethrower. I didn't expect that when I saw the little japanese girl shyly taking pictures of the audience when they came out.

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honestly, i was literally right in front of the guitarist and my ears felt like they were bleeding afterwards. they weren't even that loud, it was just the piercing tones/noises they made were seriously like running a cheese shredder over your ears.

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im going to see them on the 30th. ive never seen them before, i was supposed to go see them once in like 9 years ago w/ Wesley Willis and someone else, but i didnt make it out. they also came a few months back, but i went to see the locust/daughters instead, so its been a LONG time coming.
i think he uses two DD5's and a DSD, i believe.

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I flew out to see them at their last stop in San Francisco last tour, since I thought that might be my last chance to see how he was using the goatkeeper. He used it quite a bit on one track off of Cellscape (I think... but it definitely wasnt' the Blondie cover). I gave him the effect during that tour, so I wasn't even expecting him to use it all.

Sounds like it was a fun show. They're playing here with the Locust.

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cell scape is probably most "accessible".
id check out charlie though.
i think they have an anthology, i cant remember the name, but should be a good all-around mix of melt banana.
the drumming varies from album to album, the mixes on some of the earlier stuff is raw, sometimes intentionally. guitar is always massive.

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honestly, the drums were the weakest link, i felt. pretty repetitive as far as rhythm goes, but you can only do so much with constantly-evolving song structures. the board pictured on the lightfoot labs site is slightly outdated as per what i saw recently. the addition of the fm4 on the right board mainly, and the goatkeeper was actually fastened down to the board.

 

i haven't listened to enough of their albums to actually recommend accessibility, but it's all good {censored} in the long run.

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