Web Exclusive: A conversation with Mono's Taka Goto

Japanese post-rock instrumentalists MONO have composed sweeping crescendos and beautiful landscapes of sound for nearly a decade. The band’s new album, Hymn To The Immortal Wind, takes their cinematic ambitions to new, swaggering heights while managing to retain the reserve and wistfulness of their earlier material. BRIAN SHULTZ convinced guitarist TAKAAKIRA “TAKA” GOTO to open up about the album released this week on Temporary Residence, new genre configurations and the contrast between Japanese and American music scenes.

It seems like there’s never been a single member change in the lineup. Is that true?

We haven’t had any member changes. In the beginning, we had a temporary bassist for Mono before we found [bassist] Tamaki [Kunishi]. After that, it has just been us four. We work really well together. Somehow we balance each other out.

How would you compare the touring and music communities in Japan and America?

Japanese fans express their appreciation differently due to cultural norms. They are a bit more quiet and internalize their emotion, whereas American fans show their reaction more. I find the overall music communities similar. I’ve come across more experimental music communities in Japan and more traditional rock communities in America. We are really lucky and grateful to be a part of both countries.

Follow The Map – Mono



How do you feel about the fact that some music critics have labeled your band “new classical”?

We love classical music and draw a lot of inspiration from its sound. It’s interesting that we’ve been called this and I think it suits us in a way. Especially now that we’re growing older as a band, we’ve taken our music in more of a cinematic direction. We just want to be able to continue our own style and watch it grow. Our music will be categorized no matter what we do and as long as we can continue to make albums, then we are happy.

What does the “immortal wind” refer to?

It refers to the theme of the story on which the album is based. Wind symbolizes that which we cannot see but we know exists–traces of memory left in the soul, traces of the energy and movement of the universe. It is like what people can feel but not understand, and do not question until the moment of death.

Silent Flight, Sleeping Dawn – Mono



Steve Albini has produced all your albums dating back to 2004’s Walking Cloud And Deep Red Sky, Flag Fluttered And The Sun Shined. You must enjoy working with him.

Working with Steve is usually minimal discussion–we just get right down to business. His wooden studio has really beautiful and natural reverb. There are so many amazing vintage microphones as well. Since we have been recording there for five or six years, we can really relax and concentrate in there. Steve really understands how important it is to us that our recordings mirror our live sound as much as possible–this is why it is so easy to work with him. We have a mutual understanding of each other. He does his job so well and we do ours to the best of our ability, so everything just works out smoothly.

If you had to record with somebody else, who would it be?

Beethoven or [composer] Ennio Morricone. [Laughs.]

How do you avoid repetition in your songwriting?

I think it’s important not to get too comfortable and rely on certain expectations that everyone has of you. Now that we’ve been a band for 10 years, we feel more confident in taking risks and we’re more aware of our strengths and weaknesses. Although the underlying basis of our music–guitar, bass and drums–remains the same, I’m experimenting more with things we’ve wanted to try–like more complex orchestral arrangements. Hymn To The Immortal Wind reflects the things that we’ve wanted to pursue sonically and emotionally for a while. We want to allow ourselves to grow and evolve, and it just felt natural for us.

Coed bands seem much more prevalent in Japan than America. What would you attribute that to, if anything?

That is a good question. The only reason I can think of is that there are more females in Japan who want to be in bands. There are currently many popular female rock musicians in Japan so this may be encouraging more coed bands. But I could be wrong.

Being that you and Envy are labelmates, and arguably the two biggest Japanese post-rock bands in America, have you ever considered a U.S. tour together?

We’ve talked about a tour together and it’s a possibility. It’s great to collaborate with good friends who you share a mutual love and respect with. Maybe someday when our schedules line up. alt