Mono, Wintercoats @ The Forum,Melbourne (7/10/2011)

Mon 10th Oct, 2011 in Gig Reviews

For Mono fans, the suffix ‘with the Holy Ground orchestra’ is an assurance of a very special evening. With only a selection of cities around the world treated to such a performance, it’s not surprising to see a line stretch around the corner of a sold out Forum Theatre well before doors are due to open. It’s a huge validation of the band and the pulling power of their accompanying orchestra, as well as the growth of the Melbourne International Arts Festival that director Brett Sheehy has spearheaded. Despite returning less than two years since their last visit and with no new releases, tonight sees the Japanese ‘post-rock’ quartet push well beyond anything Australians have seen of the band.

Opening duties are entrusted with local multi-instrumentalist Wintercoats. A suitable choice for support, one-man-band James Woods is the ultimate musical craftsman. Working On A Dream proves to be every bit as magical live as on record, with its simple, plucked beginnings swelling to an impossibly intricate composition. Woods’ vocals don’t seem to add a great deal to the tracks, which are sonically complete as instrumentals. A solo version of Delicate Position is another highlight in a set that seems to draw mostly from the recent Sketches EP.

The changeover is quick and it’s not long before the members of the 23-piece orchestra take to their seats at the back of the stage. The four central figures of the performance take their places soon after, with guitarists Takaakira Goto and Yoda seated either side of their rhythm section.

As on the live Holy Ground CD/DVD, Ashes In The Snow opens the show and the crowd approves. The lead track from 2009’s Hymn to the Immortal Wind (which was recorded with a chamber orchestra), it’s perfectly suited to these Holy Ground performances. The orchestral arrangements are faultless- they escalate with the guitars and give a perfect backing to moments of sparse guitar pickings. It hits the audience hard when the orchestra and bass kicks into full gear a few minutes in, creating one of the most complete or ‘full’ sounds imaginable. Watching the violin bows rise and fall below the band in perfectly synchronisation is a glorious sight and forms part of one of the best moments on the night. When Takaakira finally stomps on his distortion pedal to reach an astonishing climax, there’s a huge release of emotion from band and audience alike. A yellow light brightens below the band as drummer Yasunori Takada’s cymbals crash faster and faster until he hits the huge gong hanging behind him, and it’s all over. It’s one of Mono’s best tracks to date, and a great opener.

Opening with their best is a daring move, but they pull it off. As poignant and affecting as these Holy Ground performances are, Mono have played enough of them now to master the art. The setlist is just right, with epic 10 minute tracks balanced with shorter introspective pieces. Burial At Sea, another from Hymn to the Immortal Wind, is a good example of the longer tracks in which the orchestra came to full use.

The middle section of the set is comprised almost entirely of these introspective tracks. It’s hard to see Mono ever being remembered for songs like 2 Candles, 1 Wish, but they serve- if nothing else- to further heighten the highs in the epic songs that they’re known for.

Having caught their previous tour and struggled to hear for days afterward, it’s very satisfying to see (or, hear) Mono play with a lower volume. With volume been used for decades as a way to be noticed, that Mono has decreased their volume signals a rightful confidence in their music. The loud(-ish)ness returns later in the set with Halcyon (Beautiful Days) and Everlasting Light. The former sees Yoda standing (both guitarists play seated) and swaying with bassist Tamaki Kunishi before a sudden explosion of sound as Takaakira again leads the band into a noisy conclusion. These songs give the orchestra a final chance to shine, again combining perfectly with the two guitars.

Never one for encores, tonight is no exception for Mono. The conductor joins the band at the front of the stage for a bow, every bit as worthy of applause as the four band members. They leave the stage looking drained and with genuine gratitude for the orchestra and the respectful crowd. Their near-two hour set is over without a word spoken, and yet they’ve conveyed more emotion than even the most poetic rock bands could ever hope to.

In a beautiful venue, four heroes of Japanese alternative music put on a truly beautiful show. Their already epic songs are taken to another level with the Holy Ground orchestra, and nothing can prepare the audience for witnessing this in person. Surpassing the highest of expectations, Mono have delivered one of the most memorable and special gigs the Melbourne Festival will see in quite some time.