Split and Run?

Looks as though I neglected to upload this at the time.  Better late than etc.

MELT BANANA/ SHAKE CHAIN, Divine Schism, The Bully, 3/4/22

Depending on where they’re standing in the venue, the time it takes people to notice Kate Mahony varies. The rest of Shake Chain take to the stage and strike up a buzzing hypnotic rhythm, with no frills or fripperies, but enough focus to keep it interesting, but eventually you spot Mahony, scrunched in a coat, writhing agonisingly slowly through the crowd, some rough beast crawling towards The Bullingdon to be born. And, once they take the stage, looking studiedly bemused throughout the set, Mahony’s vocals are the unfiltered wailings of a neonate, primal howls that, if they are forming words, have sheared the edges off most of them in the journey from the hindbrain to the mic so you’d never know. There’s nothing weak and mewling about the performance, though, and Mahony as Id Vicious overlays the band’s raw and elemental rock mantras, so that it all sounds like The Nightingales haunted by a poltergeist. Amongst this glorious skree there’s a surprisingly groovy number, where a garage gogo beat accompanies the repeated cry “You’re running me over!”, like something from the soundtrack to Kill Bill. If Bill were already dead. And so were everyone else.

In contrast, Melt Banana’s show starts with the minimum of fanfare. The Tokyo duo simply take to the stage, quietly set up in front of a bank of amps the size of a Transit van, and then immediately and efficiently commence pummelling. The constituent parts are straightforward – intense beats triggered by a glowing handheld device that looks like a novelty TV remote, Ichiro Agata’s razorwire guitar parts, and Yasuko Onuki’s high-octane yelping – but over an hour they are mixed, merged and shuffled like the deck of steamboat cardsharp. In fact, despite the relentless hammering, the thing one takes away from this set is just how intricate and lithe the performance is, best evidenced in a quickfire parade of seven Napalm Death-length microsongs. Onuki’s vocals, although clearly influenced by hardcore, have an elasticity that places them nearer to funk or rap, and Agata’s guitar-playing, as well as being phenomenal, is not afraid to pull back from the cascades of noise for some classic rocking: we hear a riff AC/DC would be proud to own, and a chug with which Lemmy would gladly share a bottle. As the closer, ‘Infection Defective’, with its rolling Massive Attack bassline and icy crystal shards of guitar attest, Melt Banana shoot for your head, your heart, and your dancing feet at once. And all of them are killing blows.