'The Music Must Come Out': How Songwriting Pushes MONO Closer To The Light

CONTENT WARNING: This article contains discussion of mental health. If you are suffering from any of the issues that have been discussed or need assistance, please contact Lifeline on 13 11 14 or Beyond Blue on 1300 22 4636.

Japanese post-rock/instrumental outfit MONO have spent over two decades grinding away at the complex beast that is making a living from niche music. Playing over 150 shows per year, sometimes to as little as five people in the early days, they produce cathartic performances in order to excise a “screaming of [their] souls”. It's intense, disciplined and passionate.

“I start composing early in the morning every day” says leader Takaakira 'Taka' Goto when we catch him over Skype. “I wake up at seven and start working at around eight and I go until 5pm, every single day. Like a sportsman, you have to train every day; it's like a muscle. I've been doing it every day for more than 30 years. I need to be constantly working because otherwise I lose the ability. It’s my daily life.”

Living a life of constant travel and creativity may sound like a romantic dream to many, but as Takaakira reminds us, darkness is a normal experience, and something the band channel in their latest release Nowhere Now Here. It emerged after a period of both line-up and management turbulence for the group.

“I had some bad feelings and anger happening when writing this record,” he tells. “I felt totally nowhere, but I wanted to see the light. It was my experience at the time and it was really dark.”

In all fairness, darkness is something that MONO fans have had to become accustomed to of late. Their last LP Requiem For Hell was equally as bleak, exploring concepts of Dante’s existential masterwork, The Divine Comedy. “Somehow the happy moments really struggle to be expressed by me — the darkness and anger is always pushed out by me. It’s like a constant, ‘Fuck you,’ you know?” laughs Takaakira. 

“We never care about how we’ve succeeded or how much money we can get — we never care about this: the business, the plan or whatever. We just want to continue to focus on our art. The music must come out — it’s my everything. I want to release my emotions, otherwise I can’t survive this crazy life. It’s so important to me to be writing songs with this mindset. Sometimes we can’t see any light or any hope. But if I stopped working I would lose everything, so I have to continue to work. If I do that, I begin to see a small light that then begins to grow and get bigger and bigger. That’s the key concept that runs through my entire life, not just my music."

“I felt totally nowhere, but I wanted to see the light."

It’s impossible not to be swept up by Takaakira’s constant desire to move forward, explore new sounds and keep pushing for the light, however small, at the end of the tunnel. This drive is what has pushed MONO into venues around the world, with a steadily growing legion of fans following the band down every rabbit hole. However, as Takaakira reminds us, looking back to where you started is equally as valuable for helping MONO stay grounded.

“We started in 1999, and when we did our first American tour there was only five people at each show. We couldn’t speak any English, we had no friends but we had a huge dream to play this music and share it to the world,” he says. “The final show last year in London with 2,000 people and an orchestra — it was fucking unbelievable. We’re so thankful because each year so many people are supporting and helping us. We can’t be snobby. We just want to focus on music — that’s all!”

Hearing about Takaakira’s reflections of performing with an orchestra is fitting. Classical music has always been a key part of not just MONO’s densely textured sound, but also their approach to emotional expression.

"I love Beethoven so much!” Takaakira says. “When I listen to Moonlight Sonata I can feel the feelings so deeply but I always wondered why his music had that emotion. I had to read up on it and I felt like I could share that exact same emotion through my own stuff. If I can share those kinds of emotions through my own music, even though it's totally different, that’s how I would want to follow in his footsteps.”

By all accounts, the emotions of MONO's music have had a considerable effect on their fanbase. “I got an email once. Someone was about to commit suicide and this guy had decided to listen to us before he died and he abandoned the attempt,” shares Takaakira. “I know that music can be like this and be really beautiful so that’s the reason that we keep doing this so much.”

Unfortunately, for every incredible story there’s always going to be some haters, but don’t expect that to stop MONO from plugging away.

"People have said, 'Your music sucks,' but I don’t care,” laughs Takaakira. “I’m the only person that can trust myself and the sounds that I create.”