Napalm Death, The Melvins and Melt-Banana – Club Soda, April 17, 2016
Extensive Enterprise, Greenland and Evenko presented a triumvirate of motley performers on Sunday evening, with Napalm Death, The Melvins, and Melt-Banana packing Club Soda to sold-out attendance, all under the «Savage Imperial Death March» tour moniker. Read on for details about the bands, this writer’s anecdotes, and of course, the gig!
MELT-BANANA
Formed in 1992 in Japan by female vocalist Yasuko Onuki, these noise rock, grindcore, and synth-pop experimentalists were met with much curiosity by several of my show compatriots, among whom I was most certainly included.
While many of these folks ended up being dazzled by the show, I was left wanting. Anyone who knows me knows I’m open-minded and ever-searching for different soundscapes and musical texturing. Musically-speaking, I found Melt-Banana very interesting on disc. Live, however, I felt the duo, reduced from a full live band to computers and programming, fell flat (at least from where I sat on a bar stool at the mezzanine bar). I did like the addition of a handheld retro-style remote control trigger tool that Onuki wielded and flashed around; great stage presence. Perhaps in the front row I’d not have noticed, but the sound had a washed-out, flat tone to it, feeling like it was being played off of a tape into the PA. This issue didn’t improve matters once it was mixed with Onuki’s very unique, very abrasive high-pitched Mickey Mouse vocal style. Her voice was the real dealbreaker for me, whereas I know many people I spoke with loved her unique sound. I admire her use of a unique vox. I just don’t like it.
For those who have never heard Melt-Banana before, they have seven albums to date, and are currently promoting both 2013’s full length album «Fetch», as well as last year’s «Return of 13 Hedgehogs» (Mxbx singles 2000-2009).
With a career spanning 20 years, this (now) duo is no novice opening act for the subsequent veteran players on the bill. They simply aesthetically sit in my «want to like, but just can’t yet» pile of musical accrual. I respect the shit out of them – It’s just that with those vocals, I just…can’t…even.
THE MELVINS
Last in Montreal in 2012, these Washington natives are long-time friends of fellow 1983-progenitors Napalm Death. These dudes amassed a rather large following of devout fans of all genres, if my stereotypical assessment of scenester garb is to be trusted. Punks, grindcore fans, metalheads of all types, and several nondescript hipsters in every shape of black-rimmed glasses all gathered with anticipation for the set.
Although a household name, this writer isn’t overly familiar with their works, yet has great respect for their longevity, variegation, and dedication to their craft. The set was solid, too!The group played several song covers throughout their set, with their rendition of «Deuce» by the legendary KISS as their second song. With eighteen tracks played, The Melvins chose to end their set with two Alice Cooper tracks, «Second Coming» and «Halo of Flies».
Mixed with several songs from their whopping twenty-four studio albums (and dozens of singles, at that), The Melvins didn’t play any early release tracks off their forthcoming June 2016 album «Basses Loaded» as far as I recall.
NAPALM DEATH
Like many a devout metalhead, I’ve seen Napalm Death live more times than I can remember. Some folks get jaded about such circulatory bands – I tip my hat to those folks, yet kindly disagree! I’ve never been disappointed by a Napalm Death show. While there is an ebb and flow and general vibe shift apparent at any recurrent metal gathering, this British band has been solid since 1983, which is coincidentally the year of my birth.
With fifteen full length albums under their belt, and numerous splits, demos, and EPs, the Birmingham quartet returned to Montreal after just more than a year’s hiatus in continued promotion of 2015’s «Apex Predator – Easy Meat», as well as two subsequent splits and a single. If you’ve not yet given it a spin, check it out! While it hasn’t been in my regular listening rotation since its release, it’s a solid album worth any death and grind metal fan’s time! When I put down the new Gadget, I’ll get back to it.
That said, my fave album has always been 1997’s «Inside the Torn Apart». I recall heading into a used CD store in the late 90s in Vancouver and thinking the cover looked pretty angry and aggressive. I picked it up immediately. Nostalgia has a way of pulling at your heartstrings and triggering memories and keeping specific albums sacred.
I had a blast in the mosh pit – surprising myself, even. Those who know me know I love the pit, but I’m getting older and my knee is sorta fucky. The next day at work was tough, but it was so, so worth the pain and drunken debauchery aftermath.
Vocalist Barney Greenway was very impassioned during his set, interrupting his typical spastic jaunts back and forth across the stage with spasmodic head and body twitches to offer political opinion and his typical remarks about the state and affair of things and stuff. Love his general attitude, and always have.
His diatribes were focused and felt more disconnected from the audience than he’s been in the past. Touring back to back means that you can’t always plan what mood a band will be in, or what connection will be felt at all times during a performance. He was not grumpy by any means, but his normally jocular attitude was simply just not as pronounced, that’s all.
Much thanks goes out to Extensive Enterprise, Greenland and Evenko for inviting Ondes Chocs to this and to many other shows to share our love of metal to the masses! All in all, this was a stellar show. I’ll definitely be there again with bells on the next time Napalm Death is in town – it’s compulsory!
8/10
Jenny King
