2023-05-31 | Mono + GGGOLDDD | Rescue Rooms, Nottingham
It was my second time seeing the mighty-Mono, and I was never in doubt about a repeat viewing given what was borderline a spiritual experience previously. As you might expect, Mono and Alcest were a stellar combination, so this gig had a lot to live up to.
In what would have made 3 posts on the bounce, I was due to be accompanied by Mathmo who sadly had to cancel due to the train strikes that have plagued anyone who travels to/from London. Having offered the spare ticket around, there were no takers, so I made my way to the venue, taking a spur of the moment trip into the Oriental Mart, perhaps subconsciously to psyche me up the for Japanese Post Rock juggernauts.
I was surprised to find the Rescue Rooms bar fairly busy in the lead up to the gig. As it turns out, many were assembling for the quiz night, but the pre-support crowd in the stage hall was many times that of ASIWYFA and pg.lost, making for a solid audience for GGGOLDDD.
I had no idea what to expect from GGGOLDDD, having done no research, auditory or otherwise. Ahead of their set, smoke billowed from the stage in volumes that made me question whether there’d been some sort of malfunction. My first observation when they begun was that the band had no drum kit, the percussionist opting for an electronic drum pad instead, resulting in a dense, industrial thud.
The frontwoman’s silhouette cut writhing shapes as the band fired up to unsettling electronic beats. Once illuminated, her unblinking stare straight down the middle of the audience was captivating, bordering terrifying at times. With choreography shifting through “Rainbow Rhythms” and alternating-hand-bunny-ears, there was plenty to watch, which was a good thing as the rest of the band were relatively inanimate.
I’d like to give more of an assessment on the band’s musicianship, but this was very hard for me to judge given how heavily processed the sound was. The vocal performance was a highlight, with an effortless creepy flightiness that was always in perfect tune. There were a fair few moments where drum timing was somewhat off to my ear, and guitar work seemed to add only subtle nuances to the muddy ensemble, despite what the bow might have added. Despite all this, GGGOLDDD kept the crowd’s attention, with the final song in particular, On You, having everyone on a knife-edge listening to the minimal vocoder composition following the announcement that it was about a personal experience of sexual assault.
Overall, not a band I’ll be rushing back to, but certainly something appropriately challenging given the epic instrumental compositions that were to come.
I’ll be the first to admit that I’m terrible at identifying Mono tracks, with even some of my favourites from Hymn to the Immortal Wind and For My Parents getting mixed up. However, there was no mistaking their opener, Riptide, with its heavy, jittery riff marking it clearly as a track from Pilgrimage of the Soul.
With a packed crowd spreading up onto the balcony, the fourpiece’s sound was a treat, with each instrument finding its place in the mix and enhancing the dreamy atmosphere. With both guitarists starting seated, highlights for me included Innocence, Ashes in the Snow and Everlasting Light, each challenging the assumption that guitars and violins are distinct instruments. The drums and bass clearly go underrated in Mono, but it was clear from this performance that they provide a vital backbone for the highly melodic, often delicate guitar work.
My memories of Takaakira Goto being a high drama performer were well founded, however, the performance was less intense than my first Mono experience. While there were moments of tooth-plucking/pickup screaming, the band leader didn’t have quite the same sheen of sweat as last time. Still, amp feedback and on-knee pedalboard worshiping made for an entertaining show, in what felt like a short set, perhaps tailored more for their recent appearance at Portals.
Not much more to say on this one - in their 20+ years of activity, Mono have refined their craft to the point of making me feel a rare sense of privilege to spectate them at work. Long may they continue.
Setlists: