“What are we doing here?” It’s a simple question in terms of the number of words involved, but anyone who has asked this before knows the answer is usually complicated, if there even is one at all. Considering how the last few years have gone, that question has been on everyone’s mind at least a few times, especially Mono. Even without the use of words, on Oath, the twelfth full-length release of their illustrious career, the Japanese titans examine themes of existence, purpose, time and memory in an attempt to arrive at an answer.
There is no way you need an introduction to Mono at this point. They’ve been doing it, and doing it well for 25 years, and what’s even crazier is that they’ve only gotten better. I had the immense pleasure of reviewing Pilgrimage of the Soul back in 2021, and that release absolutely blew me away with how many more stories after a quarter century Mono still had to tell. It ranks among the best in their discography, and fortunately Oath is no different. One of the most important reasons why, besides the songwriting and execution from the band of course, is the engineering from the legendary Steve Albini, whose passing still feels incomprehensible. I’m not going to make this whole review a eulogy for him, but…his direction behind the console is what has allowed Mono to pursue the massive wall of sound they are known for with clarity and impact. The blending with a full orchestra on the more recent releases raised the band to new heights, giving them more opportunities to tell their stories. Oath will be one of the last records to come out with Albini’s touch on it, and its incredible beauty will forever serve as a reminder that there will never be another like him.
Oath begins with a triptych, the trio of “Us, Then” “Oath” and “Then, Us”, the perfect format for their brand of post-rock. Mono never say anything unless it’s worth taking a long time to say, so a buildup that takes three separate tracks to finish is not unheard of for them. Considering Oath is 71 minutes long, having these suites of music make the album very digestible, despite its length. Over the course of three movements, Mono showcases their deft execution of every aspect of their career: “Us, Then” begins with warbly electronics before the horns and strings kick in at the start of “Oath”, letting the melodies carefully layer and build until the soaring climax in the middle of the song, all blaring guitars and wild drums crescendoing with the orchestra swells. “Then, Us” closes the suite out by returning to where it started, with variations on the electronic theme that introduced the piece. It’s clever and engaging songwriting, both a testament to how hard Mono have worked at the game and just how wildly talented they are.
Oath is a gorgeous album start to finish, and there are many moments that solidify why they are synonymous with what post-rock is at its core. Huge builds, soaring melodies, breathtaking dynamics and an attention to detail that show a love and care for their craft unmatched by anyone else in their field has always been the norm, but as time goes on, they have only gotten better at what they do. And if you can believe it, there are some new tricks being pulled out on Oath. The moody, jazzy piano on “Reflection”, the aforementioned electronics, it all shows growth and development and an inner voice that pushes the quartet to always trust themselves and follow their instincts.
Let me assure you, their instincts are very very good.
“We live with a vow that hasn’t changed since we were children: hear the wind sing. We are part of the universe. We already know what we should do and what the most important thing in life is.” What more can you say? When you know what your purpose on this planet is, you follow it and you make sure you stay true to that path. This is what Mono is doing here, what they have always been doing here, and what I hope they will continue to do here for a long time yet.
-Ian
Oath is out now on Pelagic Records. For more information on Mono, visit their official website.
Nine Circles 