2016 Full-Length Albums

Requiem For Hell

MONO 20 Years #30

"Requiem For Hell"

With this song, I wanted to portray "wish", "hope", "despair" and "anger" through 18 minutes. Especially I wanted to portray confusion, fear, pain, madness and more with the last scene’s "anger". The "anger" to move forward without giving in anything.



MONO 20 Years #29

"Death In Rebirth"

This song was inspired by the stories of people seeing memories of their lives right before their death. I wanted to portray the pride of human beings which would never fade from the point of birth to death, and the feeling of like diving into a strange world right before the final moment.



2014 Full-Length Albums

The Last Dawn/Rays Of Darkness

MONO 20 Years #28


Melodies filled with sorrow, sadness and an arpeggio that seems to sew between the rhythm of a minimal waltz. This song that seems to hold some emptiness, in my head, a girl is dancing pretty and like she expects to be swallowed by a big vortex coming ahead, she also dances sadly. Playing this song with this in mind, I think I want to express that girl's sensitive feelings rather than just sounds.



MONO 20 Years #27


It was written as a theme song for Japanese TV series "Kanata No Ko", original work written by Mitsuyo Kakuta. The story is about a mother who shockingly kills her beloved daughter due to hardships of life and she wanders around looking for remission and salvation, with regret and suffering deep inside her heart. When I first read the script, I was left with a big hole in my heart. So as a result, I wanted to write a song that can fill that hole, like a faint light coming into the end of despair.



MONO 20 Years #26

"The Hand That Holds the Truth"

The song which we welcomed Tetsu from envy, one of the bands who we respect the most and give each other stimulation. When I sent him the demo, I just told him "I want you to sing as you want and felt" and the result I received back shook my heart, because it was exactly what I was hearing in my head when I was composing. It was filled with heart-wrenching emotions, sadness, hope and overwhelming presence. Everything about it was amazing. I hope to play this song live together again someday.



MONO 20 Years #25

"Recoil, Ignite"

This song was written in 2013. It was the time when every single thing was chaos and I was mentally really pressured. Continuous nightmare-like trials, endless troubles, anxiety and anger. I remember writing this song hoping to not be crushed. I decided to express everything from fear-like darkness to morbid screams of my heart with a song.



2012 Full-Length Album

For My Parents

MONO 20 Years #24

"Dream Odyssey"

Around this time, I really faced the piano. I was feeling frustrated towards myself for not being able to express the beautiful song fully. I earnestly asked myself "what is piano? what is music?", broke everything and challenged myself again and again.

This song represents me at the time well, like being in the middle of the road or getting thrown in the middle of a desert, and you still need to move forward. This may be one of my most favourite songs to play live. I love the feeling of slowly getting caught up in the vortex of raging billows.

When I want to get released, this is also the song I want to relax and play.

この時期はピアノと相当向き合った。美しい楽曲に対して表現しきれぬ自分にもどかしさを感じ、「ピアノ とは?音楽とは?」と真剣に悩み、全てを壊し、そしてまた挑戦した。




MONO 20 Years #23


The guitar intro is like slowly start to remember the memories from a long time ago, and as instruments start to pile up, your past memories start to get clear and the black 'n' white sceneries start to colour. When I'm playing this song, I get reminded of the sceneries from my memories. My hometown where I used to always wanted to leave, is now one of my most favourite places.



MONO 20 Years #22


With the momentum of our orchestra show in NYC, we welcomed Wordless Music Orchestra again and recorded "For My Parents" together with Henry Hirsch (producer/engineer of such artists as Lenny Kravitz) in Hudson in 2012. The band’s recording was already done then, and it was going to be overdubbed so we got to see this happening. "Legend" especially has one of the most classical elements amongst all of our songs, and a church was used as a recording room. When the climax of the sounds and atmosphere of the church overlapped, its recording scenery became nothing but a delight and a reward from God.

NYでのオーケストラショウの勢いのまま私達は共演したWordless Music Orchestraを迎え、2012年にハドソンでへンリー・ハッシュ(レニー・クラビッツ等のプロデューサー/エンジニア)と共に「For My Parents」をレコーディングした。バンドは既に録り終えオーバーダビングだったので、私達はその様子を見る事が出来た。私達の曲の中で特にクラシカルな要素が多いLegend。教会をレコーディングルームにした録音風景は、圧巻の音と佇まいと教会という光景が重なり、正に歓喜であり神様からのご褒美だった。


2010 Live Album

Holy Ground: NYC Live With The Wordless Music Orchestra

MONO 20 Years #21

"Holy Ground: NYC Live"

This was our first collaborative performance with The Wordless Music Orchestra at the historic venue The New York Society for Ethical Culture. What will happen to the sound we have never experienced before? What will this majestic place show us? Our stage door opened with wonders; filled with tension, fear and racing hearts.

Led by conductor Jeffrey Milarsky, the orchestra amplified the band's sound more and more with more spirit, as the songs went on. I'll never forget the sense of unity with the last song "Everlasting Light", and the audience's standing ovation right afterwards. It still gives me goosebumps.

歴史あるThe New York Society for Ethical Cultureでの初のThe Wordless Music Orchestraとの共演。今まで経験したことのないサウンドはどうなるのか、荘厳な空間は私たちに何を見せてくれるのか、緊張と不安と心の高鳴りを抱えて私達はステージの扉を開けた。

ConductorのJeffrey Milarskyに迎え入れられ、曲が進むごとに彼等はいつものバンドサウンドにより力強い鋭気と壮大さを増幅させていった。特にEverlasting Lightのラストの一体感、その直後のオーディエンスのスタンディングオヴェーションは今でも鳥肌が立つくらい忘れられない瞬間だ。


2009 Full-Length Album

Hymn To The Immortal Wind

MONO 20 Years #20

"Everlasting Light"

"Hymn To The Immortal Wind"は、脚本家のHeeya Soに書いてもらった短編ストーリーを元に書いたアルバムだ。彼女からストーリの大まかな内容は聞いてはいたけれども、実際には、それぞれのチャプターは約6ヶ月間に渡って一章毎にメールで送られてきた。各章を読むたびに心を動かされ、多くのインスピレーションが湧いた。最後の章は、”永遠の光”というタイトルで締められていて、それを読み終えた瞬間、この曲のすべてが一瞬で頭に浮かんだ。アルバムを締めくくるエンディングは、ラストにふさわしい、壮大で勇気と希望に溢れた強い光に包まれたものにするべきだと強く感じた。今でもあの瞬間は鮮明に覚えている。彼女なしでは絶対に生まれることのなかったこの作品、とても素晴らしいコラボーレーションに出来たと思う。

The album "Hymn To The Immortal Wind" is based on a short story written by a screenwriter Heeya So. She initially told us the outline, and after we started, she sent us the story chapter by chapter over the course of 6 months. As I read every chapter, I was moved by them and was flooded with many inspirations. The last chapter was concluded with the title "Everlasting Light", and when I finished reading it, the whole song just came into my head. To create the perfect ending for the album, I strongly felt that the song must be wrapped in a strong light, filled with enormous courage and hope. I still remember that moment clearly. If it wasn’t for her, this piece wouldn’t have come alive. I think it turned out to be such an amazing collaboration.


MONO 20 Years #19

"Pure As Snow (Trails Of The Winter Storm)"

Guitars at the intro are like gently falling snow. The big noise at the end makes you feel of the big snowstorm you have trouble keeping your eyes open. You naturally get sucked into the song, forget about the time and it pulls you back into reality at the end. This is the song that allows you to feel the beautiful moments of life and fragility of people walking towards death for certainty.



MONO 20 Years #18

"Silent Flight, Sleeping Dawn"

"Silent Flight, Sleeping Dawn". We did our first collaborative live with The Wordless Music Orchestra in NYC in 2009, then later with other orchestras in UK, Australia and Japan. Getting the piano's tempo right by just the flutes' breathing pace in the first half of the song made me really want to cry. Since I'm used to playing in a band, playing with the conductor got me a little worried. At the end, where the last sound produced a very thin light, we felt each other's accomplishments. That was the moment we became a big band.

"Silent Flight, Sleeping Dawn"。2009年NYCで行われたThe Wordless Music Orchestraとの共演を初めにUK、AUS、日本でのオーケストラショウで演奏した。前半フルートの呼吸感だけでピアノのテンポを掴むのには本当に泣かされた。指揮者を見ての演奏という概念がないBANDというスタイルでやってきた私にとってはメンバーがいない前半パートは少し不安でもあった。それでも最後の一音が醸し出す一筋の光にお互いの達成感を確信し、大きなBANDとなった瞬間だった。


MONO 20 Years #17

"Ashes In The Snow"

The opening track of our 5th album "Hymn To The Immortal Wind" (March 2009 release). For this album, I wanted to create an aggressive, symphonic and sublime sound by mixing our destructive power as a band, and spirituality of Classical music in a new way. This was also the 3rd album we worked together with the engineer Steve Albini, and we feel that we managed to create an ideal sound for us. We did this recording in Chicago with 22-piece strings and 2 flutists. For the compositions, we got our friend who is a screenwriter to write a story, and I wrote the songs based on it. The story is about a boy and a girl's reincarnation.

I used Glockenspiels at the beginning, left being the young girl and right being the young boy, to portray their souls seeking for each other over time (like echoing to each other). This is one of our most important songs for live even to this day.

5枚目のアルバム”Hymn To The Immortal Wind” (2009年3月リリース)のオープニング曲。今作ではバンドが持つ破壊力と、クラシカルミュージックが持つスピリチュアル性を新しい形で融合し、荒々しい、シンフォニックで荘厳なサウンドにしたいと考えていた。エンジニアのスティーブ・アルビニとの仕事も今作で3枚目となり、自分たちにとって理想的なオリジナルサウンドを生み出せたと感じている。レコーディングはシカゴで、22人のストリングスとフルート2人と共に録音した。また、このアルバムでは友人の脚本家に最初にストーリーを書いてもらい、それを元に作曲を開始した。”少年と少女の輪廻転生のストーリ”だ。



2006 Full-Length Album

You Are There

MONO 20 Years #16


This is a very special song for me so I'd like to write 3 things that come to my mind.

In a pace like once every 10 years, Tamaki tells me "I want this song (MONO's song) to be played at my funeral". This gives me a mixed feeling; I don't want to think about such sad events but at the same time, I feel honoured. "Moonlight" to me is one of the most important songs which holds special meanings like this.

This song came to me suddenly one afternoon in summer during the American tour in 2004. Not only that, I started to hear everything clearly from melodies, chords, beats, moods and sounds. It was right before the show as well, and back then, we didn't have smartphones to quickly record to leave a trace, so I asked Yoda in haste to remember his parts and started to check my melodies with him like "I can never forget this". There was no guarantee but I happened to not forget even once until we returned back to Japan, and managed to leave every trace of inspiration of that moment.

A long time ago in a magazine interview, I once answered "this may cause some misunderstandings, but 'Moonlight' is my first original piece". What I meant was this song was the first song that sounded most like me out of the thousands I have composed, ever since I picked up my first guitar at the age of 14.

In the end, I purposely gave it the same title as Beethoven's "Moonlight", because I felt that this would be the most important song for me.







MONO 20 Years #15

"Are You There?"

The most unforgettable performance of this song was at our show in NYC, where all of our fans gathered for MONO's 10 year anniversary. The venue was at the concert hall where Einstein gave his speech. Playing with an orchestra and recording the live performance made me really nervous, but contrary to the fear, I think we made an exceptional worldview from the intro.



MONO 20 Years #14


"Yearning". The tension of going into the holding breath-like extreme silence has never faded from this song even until now. Even in the loud parts in the 2nd half, I always try to perform not just vigorously but also so you can imagine an enormous, chimerical darkness. In the actual recording, I also performed on the Mellotron but the sound faded or pitch glitched at unexpected places. That makes it great but I remember struggling more than I expected.



MONO 20 Years #13

"The Flames Beyond The Cold Mountain"

The 4th album "You Are There" (2006)'s opening track. For this album, I wanted to make a cinematic piece so I wrote the story first, split them into chapters and started on the compositions.

The album starts with "The Flames Beyond the Cold Mountain", which is about a woman who lost her beloved husband, gazing into the snowy mountain looking for a place to die. She recollects about her good days past, as the 2nd song "A Heart Has Asked for the Pleasure" comes in. From the tragedy of her husband's sudden death and losing everything, the 3rd song "Yearning" comes in where she faces despair and sorrow, filled with anger with nowhere to go. Thinking only of looking for a place to die, she walks towards the snowy mountain and finds a church that shouldn't exist there. "Are You There?". The 4th song is about her feeling her husband's presence in the church. With "The Remains of the Days", the 5th song, she realises that souls will never fade even if bodies decay, and gets wrapped in a warm gentle light. In the last scene "Moonlight", she slowly fades under the moon like a snow, towards her husband.

4th アルバム "You Are There" (2006)のオープニング曲。このアルバムは映像的な作品にしたいと思ったので、まず最初にストーリーを書き、それをチャプター分けしてから作曲をはじめた。

最愛の夫を亡くした女性が、死に場所を求めて雪山を見つめるシーン"The Flames Beyond the Cold Mountain"から始まり、過ぎ去った良き日を回想する2曲目 "A Heart Has Asked for the Pleasure"、突然の夫の死という悲劇に襲われ、すべてが消えてしまった絶望と悲しみ、そして行き場のない怒りの3曲目 "Yearning"、死に場所を求め行き着いた雪山の中で、女性はあるはずのない教会を見つける、そこで亡き夫の気配を感じる4曲目 "Are You There?"、肉体は滅びても、魂は消えることはないと気づき、安らかな光に包まれる5曲目 "The Remains of the Days"、そしてラストシーン、彼女は、月明かりの下、雪のように消えていく、夫の元へ、 "Moonlight"。


2004 Full-Length Album

Walking Cloud And Deep Red Sky,
Flag Shuttered And The Sun Shined

MONO 20 Years #12

"A Thousand Paper Cranes"

"A Thousand Paper Cranes". After starting to play live throughout the world, MONO's music started to get accepted little by little. During that time, all the people we met in the world gave us some truly amazing experiences. What all of us in the band felt right then was "we want the world to be in peace". This is the song of that prayer.

"A Thousand Paper Cranes" 。世界中で演奏する様になりMONOの音楽が少しずつ受入れられ始めた時、世界中で出会った人達が本当に素晴らしい体験を僕らに与えてくれた。そんな時メンバーみんなが感じていたのは「世界中が平和であってほしい」という事。その祈りがこもった曲です。


MONO 20 Years #11

"Halcyon (Beautiful Days)"

"Halcyon (Beautiful Days)". This was our first "ode to joy" and also "requiem" in our career. For a long time, we couldn't find our place anywhere in this world. We were filled with anger and worries, but after long tours, we made many fans and colleagues. This song was written to show our feelings of getting hopes and dreams, together with appreciation.

"Halcyon (Beautiful Days)"。僕たちの歴史の中で最初に書いた”歓喜の曲”であり”鎮魂歌”でもある。長い間、世界の何処にも居場所を感じる事がなく、怒りや不安だらけだった僕たちが長いツアーを経て、たくさんのファンの人や仲間に出会えて、希望と夢を持てたその気持ちを感謝と共に伝えたいと思って書いた曲です。


MONO 20 Years #10

"Mere Your Pathetique Light"

"Mere Your Pathetique Light". Guitars and strings cuddle over the monotonously fading piano, both independent and cohesive, then unexpectedly, they writhe together, build and then release... What I wanted to portray amongst various intersecting happenings was the strength of "I am here unfalteringly". Performing piano over gradually intensifying strings was like putting yourself in "nothingness", and that itself wasn't an easy thing to do.

"Mere Your Pathetique Light"。ただただ単調に無機質に流れて行くピアノにギターとストリングスが頼りげなく寄り添い、知らず知らずのうちに大きく絡み合い、やがて解き放たれて行く…。表現したかったのは、様々な交錯する出来事の中でも「私は動じず此処にいる」という強さ。徐々に激しくなる弦の中に吸い込まれずにピアノを奏でることは「無」の中に自分を置くに似ている感もあり、それはそれで容易な事ではなかった。


MONO 20 Years #9


"16.12". The title of the song originates from Beethoven's birthday. I was looking for a new style of composition that was more emotional and cinematic. This album was recorded in Chicago in 2003, and in fact, this was our first song with Steve Albini. It was my most heart moving moments out of all our recordings. Amongst many other events, this was also the first album to be signed by my long-time favourite label Temporary Residence Ltd., so in a way, this was our first turning point.

"16.12"。この曲のタイトルはベートーヴェンの誕生日12月16日に由来する。よりエモーショナルで映像的な新しい作曲スタイルを求めていた。アルバムは2003年にシカゴで録音した。初めてスティーヴ・アルビニと仕事をしたのがこの曲で、僕のレコーディング史上最も心を動かされた(感動した)瞬間でもある。またこのアルバムからずっとファンだったTemporary Residence(レーベル)と契約する等、あらゆる意味で最初の転機とも言える。


2002 Full-Length Album

One Step More And You Die

MONO 20 Years #8


"Halo". Every time I listen to this song, I remember about our 3 shows in NYC back in 2002. We were reckless, and didn't have much experience nor did we know much. Even though there was no guarantee for our future, I didn't feel any fear when I was slamming my guitar really loud.



MONO 20 Years #7


"Sabbath". I remember recording this song very well. When we finished recording after many incidents like studio's power blackout, Taka suddenly decided to use the studio's instruments as an intro. We got excited and started listening to the playbacks. When the intro started to play through the speakers, we heard the mysterious sounds of like sky spinning. Straight away, the worldview of "Sabbath" started to take its form.



MONO 20 Years #6


"Com(?)". The song I played imagining the darkest and heaviest violence at the time. This song broke my bass strings twice during performances, and those were the only times that has happened in my long bassist's life. This was a suitable song for my young self to throw my anger, sadness and dishonesty into. It made me feel better after every time I played. People say music save people’s hearts, but I may be able to calm my heart by just playing.



MONO 20 Years #5

"Where Am I"

The opening track of our 2nd album “One Step More And You Die” (2002). This was the first song we used Glockenspiel, and also the time when I started to self-teach string arrangement seriously. This recording was done in Japan. This song has the loneliness of getting thrown into the world by yourself, yet it is wrapped in something warm and gentle. Even now, I time to time think to myself “what am I seeking and where am I heading?”.

2nd Album”One Step More And You Die”(2002)のオープニング曲。初めてグロッケンシュピール(鉄琴)を使った曲、独学でストリングス・アレンジを真剣に学び始めた時でもある。レコーディングは日本で行った。まるで世界のどこかに一人放り出されたような孤独感があるのに、同時に何か温かく優しいものに包まれているような気持ちになる不思議な曲。”僕は何を求めて、何処へ向かおうとしているのか?” 今でも変わらず、そう思う時があるよ。


2001 Full-Length Album

Under The Pipal Tree

MONO 20 Years #4

"Human Highway"

This song creates peaks without using warp pedals. For me, it was a real challenge and I think using quartets instead of warps make the sound deeper. When we recorded the end part of 2 guitars, I remember my hand holding the pick couldn't stop shaking.



MONO 20 Years #3


"L’America" was written, inspired by Arvo Part's masterpiece "Spiegel im Spiegel". I like triple-metre rhythms/waltz because they have a unique mood and worldview. I use it in many songs like "Halcyon" and "Moonlight". I remember writing this song while looking at the sky turning orange from the sunset.

"L’America"はArvo Partの名曲"Spiegel im Spiegel"にインスピレーションを受けて2000年に書いた。三拍子のリズム / ワルツは独特なムードと世界感があるから好きなんだ。"Halcyon"、"Moonlight"をはじめ、多く使っているよ。太陽が沈み空がオレンジ色になるのを見ながら書いた記憶がある。


MONO 20 Years #2

"Error #9"

"Error #9". This is the song that taught me that bass can also portray many emotions. I wasn't used to melodic bass performances then, and even now, this makes me realise again that bass can infinitely portray anything from silence, dynamics, to emotions. When I hear this song, I also remember our first Swedish Tour. The shorter days, colder air, beautiful sky, and everything about the tour was unknown. If I play the song now, it will probably be a completely different "Error #9" compared to those days I was just absorbed in the moment.

"Error #9"。この曲は私にとってベースという楽器でも、感情を描写出来ると教わった曲。ベースがメロディを奏でるというあまり体験したことないプレイの中で静寂と壮大さ、心情を描くのは今も尚、無限の表現の仕方があるのではと改めて思う。そしてやり始めて間もないSwedenツアーで演奏したのを思い出します。日本にはない日の短さ、空気の冷たさ、空の美しさ、そして何もかも未知だったツアー。今演奏すると無我夢中だったあの頃とはまた違う"Error #9"になるでしょうね。


MONO 20 Years #1

"The Kidnapper Bell"

"The Kidnapper Bell" taken from the 1st album "Under the Pipal Tree" (2001). The song is a mixture of minimal music and noise guitar, and you can say that this is like the basis of MONO. Hearing it reminds me of our old rough US Tours. I remember the song was just so loud that even the amp was always smoking.

1st Album "Under the Pipal Tree" (2001年) 収録のThe Kidnapper Bell。ミニマル・ミュージックとノイズギターを合わせた曲で、今振り返るとMONOのベーシックと言えると思う。この曲を聴くと当時の過酷なアメリカツアーを思い出す。とにかくラウドで、いつもアンプから煙が出ていたよ。