Transforming Grief into Melody: MONO’s Journey with *Snowdrop*
Expecting a musical composition to mend the heartache of losing someone dear can be a tall order. Yet, Takaakira “Taka” Goto of MONO believes that their latest album, *Snowdrop*, holds the potential to provide solace. His conviction stems from personal experiences that have shown him the profound impact music can have on healing.
A Year of Loss and Reflection
The past few years have been particularly challenging for Goto. In 2022, he faced the death of his father, and just two years later, the iconic Japanese instrumental rock band mourned the loss of their collaborator, Steve Albini, who passed away shortly before the release of their previous album, *OATH*. Albini had been the producer for all of MONO’s albums as 2004.
As if that wasn’t enough, Goto’s father-in-law also passed away on New Year’s Day 2025. This series of losses left him yearning to “find a way to address this sadness and darkness.” The inspiration struck him during his father-in-law’s funeral, where he recalled his father’s encouragement to write a song for his wife.
Inspiration from Heartfelt Moments
“It’s a remarkable story,” Goto shares from his studio in Tokyo. ”My dad always urged me, ‘Taka, you shoudl compose a song for your wife!’ After his passing, I took that advice to heart and began crafting my first song for her.”
MONO recorded this piece at Electrical Audio with Albini, although it never saw the light of day. “It was a full orchestral arrangement-a truly beautiful song,” goto recalls. The thought of it resurfaced while he was making arrangements for his father-in-law’s funeral.
“The organizer asked me, ‘Taka-san, do you have a song we could play during the service?’ I thought it was an interesting idea. I mentioned the song I had written for my wife, and it turned out to be incredibly moving. I realized that our song had the power to heal those in attendance.”
Flowers of Remembrance and New Beginnings
As Goto observed friends and family placing flowers at the ceremony, he found inspiration for *Snowdrop*. Returning to Electrical Audio in Chicago, MONO enlisted a 10-piece orchestra and an eight-member choir to enrich their sound and allow the guitars to soar.
“*Snowdrop* was vivid in my mind; I could envision it clearly. And I felt that Albini was watching over us, as he always did,” Goto reflects.
Crafting Emotion Through Composition
When asked about the orchestration process for *Snowdrop*, Goto emphasizes that the emotional core of each song dictates the choice of instruments. “The melody often comes with its orchestration in my mind. My initial inspiration stems from my admiration for My Bloody Valentine’s unique guitar textures, as well as the cinematic qualities of composers like Ennio Morricone and Beethoven.”
“I adore melancholic classical melodies and wanted to blend that with the sonic intensity of My Bloody Valentine,” he adds. “I don’t have an ego about it; I’m not interested in flashy guitar solos. My focus is on composition. While classical music can sometimes feel dull, it possesses the capacity to evoke profound emotions, far beyond what standard rock can achieve.”
Creating a Sonic Landscape
“Classical music lacks a vocalist, similar to our instrumental approach. We strive to create a dramatic and cinematic experience. I love the chaotic soundscapes,but more importantly,we aim to convey our feelings and share our experiences through music,” Goto explains.
“It’s a blend of joy, sorrow, and everything in between. The melodies are stunningly beautiful, yet the accompanying sounds can be wild and intense. That’s the essence I want to capture.”
Expanding the Sound on Stage
To replicate the expansive sound of *Snowdrop* during live performances, MONO employs various effects like delays, reverb, and fuzz. “Imagine experiencing morricone or Beethoven with a distortion pedal-it amplifies the intensity and beauty,” Goto suggests.
The Signature Sound of MONO
For the album, Goto exclusively used his ’66 Jazzmaster guitar, which he describes as special due to its unique features. ”Fender only produced this model for one year. I previously played a ’69 Stratocaster, which is fantastic, but it makes me want to solo. The Jazzmaster embodies the MONO sound.”
“During our first practice in 1999, I brought the Jazzmaster, and the sound was incredible. I could envision our future together as a band.Sence then, we’ve released 13 albums, always using the same guitars.”
The Quest for the perfect Delay
Goto has amassed a collection of around 40 Boss DD-3 delay pedals, each with its unique sound. ”I first used a DD-3 in high school, and it became my favorite. Each version has its distinct character,” he explains.
“I’m on a quest to find the one that sounds like my first. I can hear the differences, and I need to find that perfect one,” he adds, noting that he uses a consistent delay setting across all his songs.
embracing Change and Celebrating Life
Reflecting on the themes of *Snowdrop*, Goto notes the album’s journey through the seasons, beginning with *Snowdrop* and concluding with *Farewell to Spring*. “Spring symbolizes new beginnings. The past is behind us, and the future is uncertain. We must cherish the present,” he states.
“With the loss of my father,a dear friend,and both my father and father-in-law,I recognise that death is an inevitable part of life. Though, I choose to focus on the positive memories of those who have passed. For anyone grieving, I hope our music can serve as a source of love and light.”
