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Heaven Vol. 1 marks the beginning of a new annual tradition from Mono: A new EP released on Christmas Day each year, leaning into the light at precisely the time when we need it the most - surrounded by loved ones and hopeful for what the turn of the calendar may bring us.Recorded by Takaakira 'Taka' Goto at his home studio in Japan (with drums recorded by Amak Golden at Golden Hive Studio in Prague) - and mixed by Rafael Anton Irisarri and Jeremy deVine at Black Knoll Studio in New York - Heaven Vol. 1 finds Mono at their most hopeful and cinematic. Of each of Heaven Vol. 1's three tracks, Mono offers these words:Lucia:\"This song was written when our beloved longtime partner Jeremy (the owner of our American label Temporary Residence Ltd.) welcomed his second child. The song is constructed with two parts; the first part celebrates the birth of a new life and the second part heads towards dreams and hope. 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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. 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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. 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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. 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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 it's magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. 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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 a full 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 it's entire two-hour glory, Beyond the Past is one of the most essential Mono recordings. 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Once again working withChicago-based conductor and orchestral musical director,Chad McCullough, Mono enlisted a 10-piece orchestra aswell as an 8-piece choir for the eight massive pieces thatmake up Snowdrop. With the band performing and Woodrecording in the same hallowed space where most ofMono's records had been made in their quarter-centuryhistory, the songs on Snowdrop carry an extra weight. Mixedby Wood at his Seagrass home studio in Los Angeles, thealbum is equally intimate and enveloping.Where there could easily be a pall hanging over Snowdrop,there is instead an extraordinary air of gratitude. Rather thansteep in heartache, there is a poignant appreciation for theresonance of life well-spent with a dear friend - and theyearning for what may come. 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