Mono have remained an elusive yet powerful force in their 17-year lifespan. Eight albums deep, including one double album, gives Mono an extensive back-catalogue to indulge in, which begs us to question what the Japanese post-rock group have brought to the table with their latest release, ‘Requiem For Hell’. The answer is a lot of old tricks with a new coat of paint.
Whether you listen to the much-loved ‘Under The Pipal Tree’ or critically slammed ‘The Last Dawn/ Rays Of Darkness’, Mono have remained true to their original sound. While there is a well-earned respect towards the band’s musical integrity, there comes a time when you have to ask yourself when enough is enough. ‘Requiem For Hell’ is a truly dynamic album yet offers itself as just another Mono album, nothing that can give enough reason for these songs to exist.
Album-opener ‘Death In Rebirth’ is in true Mono style, taking it’s time to crescendo and build up towards a fruitful ending, contributing layer after layer of guitar climaxing in a fiery barrage of fuzz. ‘Stellar’ is sweet, melancholy and drawn back. It’s a true testament to how this band can create an environment to create the largest soundscape and then move quickly to minimalist instrumentation. Utilising a glockenspiel, a piano and a subtle string section, the shortest song on the record builds into the poorer half of the record.
It wouldn’t be a Mono record without at least one 15-minute cinematic epic. The title track is a journey of of deep contemplation using two guitars calling back and forth as it’s foundation as it meanders through a dynamic sound from mild and clean tone to what can only be compared to the sound of a wave of instruments crashing to earth, grinding along the ground and spilling over again.
Being the first album collaborating with Steve Albini in seven years, there’s a nostalgic feel to the record. Mono’s last work with Albini resulted in arguably the band’s most loved record, ‘Hymn To The Immortal Wind’. ‘Requiem For Hell’ shares a lot with this record. While records like ‘For My Parents’ and ‘Gone’ had a more bittersweet taste to them, the former two share a theme of true misery. The melodies used in ‘Requiem For Hell’ draw great feelings of despair and suffering from within these musicians. Whether this is intentional or representative of what the band are truly feeling, it’s something that can only be pulled off by a very talented set of people.
While these compliments come from a place of honesty, they can also be said about any Mono album. They have never failed to create a spectacular and individual experience and it’s this unique ability that will make sure this band always have a following. ‘Requiem For Hell’ is just more of the same. Another five symphonies that will never be appropriately appreciated as long as they exist in the monotonous arsenal Mono have accumulated.
MAX GAYLER