MONO
Nowhere Now Here
Over the past twenty years, Japanese Post-Rock quartet MONO
have established themselves as one of the premier groups of the genre. With a hefty annual touring schedule, intense
live show and vast catalog of material, they have not only won over fans
worldwide, but also solidified their place amongst such juggernauts as Sigur Ros
and Godspeed You! Black Emperor. And like
those groups, MONO’s brand of the style is characterized by slow building
instrumentals that float the listener from quiet depths to blaring
heights.
In fact, that’s pretty much the modus operandi for all
Post-Rock bands, which begs the question - how can a group continue to evolve
in such a claustrophobically defined sub-genre?
Contemporaries like Mogwai and Explosions In The Sky have begun scoring
film and television shows to avoid stagnation while This Will Destroy You have
moved to a darker, heavier sound. MONO,
on the other hand, have found their progression in the consistent growth of
orchestral backings, fusing dramatic string arrangements with their guitar-based
compositions.
But on their tenth full-length album, Nowhere Now Here, the group focuses less on the grandiose, and more
on the minimalist nature at the core of their sound. Sure, the bands signature crescendos are
present; “Sorrow” rides a wave of lush strings, rising and falling until it’s
warped out noisy finish, while “Meet Us Where The Night Ends” wouldn’t sound
out of place on their 2009 orchestral backed release Hymn To The Immortal Wind. Even opener “After You Comes The Flood” is
crushingly loud and perhaps the heaviest song MONO have ever laid to tape.
It’s the less intense moments, though, that make this album
so intriguing. For the first time, MONO
introduces vocals to a song. “Breathe”
features bassist Tamaki Kinishi singing in a hushed voice over placid synths,
slowly transitioning into the bands effect soaked guitars. “Parting” and “Funeral Song” take on more of
the soundtrack-type feel, featuring no guitars or percussion. The former focuses on a bright piano line
with string accompaniment while the latter drifts through a gloomy calmness
created by layer of synths and brass orchestration.
Of course, the highlights of Nowhere Now Here occur when MONO sticks to what they do best –
creating indie rock fueled epics. The
ten and a half minute title track ebbs and flows through ethereal guitar lines,
upping the tempo as they approach the climax.
The same can be said for the slightly less intense tracks “Far And
Further” and “Vanishing, Vanishing Maybe” which evoke similar melancholic
emotions without as much drama.
MONO have consistently been one of the bright
points of the Post-Rock world and Nowhere
Now Here is no exception. The band
is able to continue to evolve their sound while still staying true to their
roots. It’s impressive that after two
decades, MONO can put out a record that is not only as captivating as their
early material, but in many ways may actually be better.
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