"What are we doing here"? The year 2020 turned what was once quintessential late-night stoner existentialism into a daily mantra for nearly everyone on this planet. What are we doing with our limited time in this life? What is our purpose? What should we be doing?

For the past 25 years, MONO have explored themes such as the relationship between darkness and light; hope in the face of disaster; and the duality of birth and death. On their 12th full-length album "OATH", they ponder the time that makes up life, and how to make the most of that time.

Recorded and mixed with longtime friend and collaborator, Steve Albini, "OATH" opens like a sunrise with a slowly ascending orchestra and brass section, the full band taking its time to revel in the atmosphere before joining in the splendour. Throughout the album’s 71-minute runtime, MONO meditates on that theme of time and life in myriad ways. The unhurried evolution of a song that is a hallmark of MONO’s catalogue is infused with an air of elegance that elevates "OATH" to new heights.

MONO challenged themselves with a universally relatable existential examination and answered with "OATH", an album that offers benevolent reflection rather than a fleeting respite.

From Christmas 2022, MONO will release an annual Christmas EP series entitled "Heaven”. The series is available and is released exclusively via Bandcamp, every year, every Christmas.

My Story, The Buraku Story is a new feature-length documentary film that explores the discrimination against a group of people – commonly called “the burakumin” – who were classed into lowly groups and segregated from the rest of Japanese society. This discrimination is not by race or ethnicity, but rather by place of residence and bloodline, and has existed for centuries – albeit very rarely acknowledged or discussed in Japan. When director Yusaku Mitsuwaka imagined the exemplary score for such a culturally sensitive and significant subject, he idealized MONO to help tell this story through their legendarily cinematic music.

Following their recent experiments with electronic textures infused into their trademark dynamic rock compositions, My Story, The Buraku Story finds MONO at their most understated and elegiac. The songs that make up My Story, The Buraku Story are largely built around piano, strings, synths, and choral vocal loops. As one might expect from MONO, the arrangements are masterworks of understated execution with oversized emotional resonance. By far MONO’s most delicate album, it is a fitting document of the band’s first-ever full-length film soundtrack.

Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed – cautiously, anxiously, yet optimistically – during the height of the COVID-19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their third decade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that’s saying a lot). But where MONO’s foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and – perhaps most notably – faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date – replete with surprises and as awash in splendor as anything this band has ever done.

For two decades, MONO have defined and refined a kind of orchestral rock that is as emotional as it is experimental. Their 10 studio albums over those 20 years have established MONO as what Pitchfork described as “one of the most distinctive bands of the 21st Century.” Meanwhile, their live concerts are typically more subdued in instrumentation – and more supercharged in volume and voltage. Rarely is there the opportunity to combine those two experiences. In their 20-year history as a band, MONO have presented no more than a half-dozen live concerts featuring the support of an orchestra. Such events are not only unusual – they are also unforgettable.

Beyond the Past • Live in London with the Platinum Anniversary Orchestra documents MONO’s extraordinary performance from the Beyond the Past event that celebrated the band’s 20th anniversary, which took place at the historic Barbican Centre in London, England on December 14, 2019. For that once-in-a-lifetime event, MONO selected a memorable lineup of old and new friends, including fellow Japanese underground icons, Boris and Envy, as well as French post-metal legends, Alcest, and UK collaborators A.A. Williams and Jo Quail. The event culminated with MONO performing with The Platinum Anniversary Orchestra, featuring National Youth String Orchestra to a rapt, sold-out audience of 2,000.

Playing through a two-hour set that touches on the band’s entire history, the sheer euphoria and dynamic resonance that engulfed the massive crowd was captured in brilliant detail by MONO’s live sound engineer, Matt Cook. Meticulously mastered by Bob Weston and presented here in its entire two-hour glory, Beyond the Past is one of the most essential MONO recordings. Packaged in a triple gatefold with accompanying 40-page photo book, this is the rare document of an event that is an event in and of itself.

The conflict and correlation between dark and light is a universal theme with a historically rich history. Musically, perhaps no band in the 21st Century has mined that relationship more consistently or effectively than Japan’s MONO.

Across 10 albums in 20 years, MONO have convincingly reflected the quietest and most chaotic parts of life through their music. Their ever-expanding instrumental palette – which began in earnest in 1999 with the traditional guitar-bass-drums rock band setup – has evolved to include as many as 30 orchestral instruments. Now, on Nowhere Now Here, the band add electronics to their repertoire – perhaps inspired by guitarist/composer Takaakira ‘Taka’ Goto’s recent collaboration with John McEntire, the beguiling Behind the Shadow Drops. Nowhere Now Here also sees MONO’s first-ever lineup change, adding new drummer Dahm Majuri Cipolla (The Phantom Family Halo) to the core trio of Goto, Tamaki, and Yoda. Tamaki also makes her vocal debut here, singing into the shadows of vintage Nico on the poetically hazy “Breathe”.

The unlikely career of MONO has taken them to virtually every corner of the planet, several times over. Those corners have all left indelible marks on their music, as it drills deeper towards the sound of feeling not quite human and all too human – often at the same time.

MONO are a band driven by intangible conflicts. Their albums have found inspiration in the inescapable coexistence of love and loss, faith and hopelessness, light and darkness. Fittingly, their new album, Requiem For Hell, incorporates all of those conflicts into the one universal inevitability in life: Birth, and death.

Requiem For Hell finds MONO returning to longtime friend and collaborator, Steve Albini. After MONO and Albini's band, Shellac, toured Japan together last year, they realized how much they missed the (often wordless) creative dialogue they shared during the making of many of their most memorable albums – beginning with Walking Cloud and Deep Red Sky... (2004) and culminating with Hymn To Immortal Wind (2009). The rebirth of the Albini collaboration for Requiem For Hell also coincided with the birth of a close friend's first child, whose actual in utero heartbeat serves as the foundation for the aptly named "Ely's Heartbeat". For MONO, it all felt so right, so inevitable.

Requiem For Hell is undeniably heavier and scarier than most of MONO's output to this point – hear the dizzying 18-minute title track for example – but it also carries some of their most sublime moments. This dichotomy is how one band’s obsession with conflict has manifested itself into one of underground music's simultaneously quietest and loudest catalogs.

The Last Dawn is the first of these two companion albums, and is the 'lighter' of the two, thematically and melodically. It contains undoubtedly some of MONO's strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn't been a MONO full-length record to fit on a single slab of vinyl since 2003's One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they've proven they can do it without frills, too.

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.

After years of exploring, searching ourselves, and composing pieces here and there, we found ourselves with more questions than answers. When we could not find these answers in the outside world, we were bound to turn inward. And so we went back to our roots. This is something we wanted to do while we still have the chance. What cannot be explained in words to parents, we hope can be captured by these songs. We hope that this album serves as a gift from child to parent. While everything else continues to change, this love remains a constant throughout time.

To celebrate their 10th anniversary as a band - and the release of their acclaimed new album Hymn To The Immortal Wind - MONO and Temporary Residence Limted organized a once-in-a-lifetime concert in New York City. In association with the esteemed Wordless Music Series, MONO super-sized their already legendary live show with a 24-piece orchestra. Painstakingly recorded and mixed by famed producer Matt Bayles (Mastodon, ISIS, Minus The Bear), Holy Ground brilliantly captures every moment of whispered calm and breathless beauty with patient clarity. Included with the album is a stunning live DVD documenting the entire 90-minute performance, featuring live orchestral versions of many of MONO's most beloved songs. For a decade fans have clamored for a MONO album that matches the catharsis of their infamous live shows, and Holy Ground overwhelmingly delivers.

Just in time for their 10-year anniversary, MONO return with their fifth studio album, the absolutely massive Hymn to the Immortal Wind. The music is naturally majestic, with MONO's trademark wall of noise crashing beautifully against the largest chamber orchestra the band has ever enlisted. The instrumentation is vast, incorporating strings, flutes, organ, piano, glockenspiel and tympani into their standard face-melting set-up. While Hymn continues to mine the cinematic drama inherent in all of MONO's music, the dynamic shifts now come more from dark-to-light instead of quiet-to-loud. The maturity to balance these elements so masterfully has become MONO's strongest virtue - save for perhaps their uncanny ability to sound every bit like a plane crashing into a Beethoven concert.

Collecting all of MONO's rare and out-of-print non-album tracks, Gone perfectly (and chronologically) displays their astounding growth, from the modest opening notes of "Finlandia" to the scorched finale of "Little Boy (1945-Future)." These tracks are culled from a series of highly sought-after releases, including the Japanese-only debut Hey, You. EP, their split LP with Pelican, the Cameron Crowe-commissioned Memorie dal Futuro vinyl 10", and The Phoenix Tree, their out-of-print EP for the storied Travels In Constants series. All tracks have been beautifully remastered from their original master tapes.

The Sky Remains the Same as Ever is a nearly two-hour document of the recording sessions for You Are There, and the several worldwide tours that followed its release. In addition to the dozen live songs that are documented in all their sweaty fury, the film captures the decidedly less glamorous aspects of being an underground rock band from a foreign country, expressing sentiments through body language out of necessity, and driving...lots and lots of driving. Most effectively, the film displays the friendships that have made MONO's journeys enjoyable, and the fanatical dedication that has made it all possible.

Captured to tape by Steve Albini at his Electrical Audio studios in Chicago, IL, You Are There extends the cinematic drama of 2003's Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined (also recorded by Albini), while surpassing the sinister heaviness of 2002's lauded One Step More and You Die. MONO disproves the myth that an increased focus on intricate song structures and string arrangements comes at the expense of youthful energy and inspired aggression. With You Are There, MONO's representation of tragedy comes with an inherent joy, delivered with the hope that in all dark there is equal parts light. They're not heavy like Black Sabbath - they're heavy like Beethoven.

Tokyo, Japan's Mono are a peculiar group. While most bands offer up their sincerest and most genuine recordings in their infancy and spend the rest of their careers trying desperately to rediscover their youthful energy, Mono's trajectory has been quite the opposite. Their early recordings are a visceral homage to their past and present heroes - the documents of a band boasting an impressive symphony of sound in spite of their relatively small line-up. These days, they have become one of the most passionately aggressive rock bands of the last decade, executing their soaring crescendos, titanic sheets of distortion and dark melodies with the delicacy and precision of a folded paper crane. This flourish of hopeful creativity was captured by Steve Albini in the form of the eight pieces that make up their third album, Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined. More lush and orchestral than previous recordings, the album couples an overall slow-melting ambience with a thunderous drive that reaches far greater heights than the band's earlier work.

Since its original release in 2002, One Step More and You Die has become the monolithic cornerstone of MONO's discography. Every subsequent release has been inevitably (and perhaps unfairly) compared to this album, as if it were the band's high watermark, never to be dethroned. MONO brilliantly answered even the most stubborn of naysayers with 2006's transcendent You Are There. To celebrate that release, we dug into their back catalog and pulled out this masterpiece of dark dirge, repackaged with additional artwork. One Step More stared the "sophomore slump" threat square in the face and pummeled it from note one. Four years later we can confidently say that it sounds just as brutal and beautiful as it did the day it was laid to tape.

Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences – most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse – were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band.