That Melt-Banana is making some of the best music of their career—over 20 years into the band’s existence—speaks to the universal and transcendent quality of their noise. The landscape of media, society, and even the microcosm of noise rock has changed greatly, but Onuki and Agata have locked jaws on the diametric constants: energy versus agitation, phobia versus euphoria, and instant nostalgia versus the relentless pursuit of the upgrade. fetch is Melt-Banana’s own upgrade, a bleeding-edge reiteration of their fractured and manicured chaos. There’s a moment in the album’s closer, “Zero”, in which Onuki punches her way through a web of Möbius-strip riffage to project a fleeting, Technicolor afterimage of Dilemma’s pop-punk melodicism; then it seizes up, hits the gas, and splatters against a brick wall. A moment later, it reconstitutes itself and barrels forward as if nothing happened. In a breathless whirlwind kind of way, fetch does the same for Melt-Banana.