MONO (Japan) When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and
MONO (Japan)
When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia.
MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama.
On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder? Quieter? Lighter? Darker? Yes.
The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the twin albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here.
Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.
Takaakira “Taka” Goto: guitar
Tamaki: bass
Yasunori Takada: drums
Yoda: guitar
Facebook Event MONO + Helen Molney
MONO – Website
MONO – Facebook
MONO – Twitter
MONO – Instagram
HELEN MONEY (USA)
Helen Money is Alison Chesley, a Chicago, United States based cellist who has become known for her unique sound and compelling stage performance. Using the tools of a lead guitarist, she channels her sensibilities and experience as a rock musician through a classical instrument. The songs are raw, melodic, and often dark, ranging from the punk-rock intensity to the minimal, hypnotic. A dark and joyful ride.
A founding member of Epic Records recording artist Verbow, Alison has opened for bands as diverse as Shellac, Earth, The Bad Plus, Huun-Huur-Tu and KTL. She has also worked and recorded with musicians such as Bob Mould, Disturbed, Anthrax, Broken Social Scene, Frank Orrall and Mono, among others.
In addition to her solo work since 1994, Chesley has composed music for film and dance, including the soundtrack to the award-winning documentary “Indestructible” and two major works for Chicago based Mordine and Company Dance Theater, “Quest” and “Time Stilled”.
Her second album, recorded with Greg Norman at Electrical Audio and mixed by Sanford Parker at Semaphore Studios was released on Table of the Elements/Radium December 2009.
Helen Money – Website
Helen Money – Facebook
Helen Money – Twitter
VSTOPNICE: 14€ presale, 17€ walk-up
PRESALE:
– Info Škuc (Stari trg 21, LJ);
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– Eventim
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