Under the Pipal Tree (2001)
7
Karelia (Opus 2) / The Kidnapper Bell / Jackie Says / OP Beach
/ Holy / Error #9 / L'America / Human Highway
Mono
was properly introduced to the world by John Zorn's Tzadik-label as part of
the New Japan-series that also unleashed releases by Melt Banana, Ruins
and a bunch of lesser-known acts. Mono also has guts, as they delivered a
fairly conventional, guitar-oriented post-rock album at a moment when many
already deemed the genre exhausted or even dead. If it weren't for convenience's
sake, I'd also attach less importance to the use of easy labels, but at least
we know what we're talking about and I do agree with the above assessment
that post-rock's intellectual and non-conformist approach that refused to
incorporate most traits of straightforward rock 'n' roll (sometimes, the only
thing that's similar is the instrumentation) has left us with too many followers
that have not enough interesting things to say for themselves, things that
haven't been done (and better, to boot) by the ten or so key bands in the
"genre" (or amalgam of sub-genres). Mono is no exception, as they hardly come
up with anything that hasn't already been done by those bands or their predecessors,
but they somehow managed to combine these influences, shape 'em according
to their own impulses and came up with results that hover between the sublime
and the average. Merging the patience of Godspeed You! Black Emperor with
Mogwai's talent for beautiful melodies and Sonic Youth's penchant for dissonance,
Mono explores aural extremes that involve enormous decibel shifts (at a low
volume, some songs only become audible after a minute or two), as the material
switches from almost lullaby-like tranquillity to full-bore noise assaults
of almost volcanic proportions. A few good examples open the album, as "Karelia
(Opus 2)" emerges out of nothing, stubbornly continues its direction towards
a compressed, feedback-laden climax, returns to quieter territory with the
guitar almost making nautical sounds and then progresses towards a second
climax and lengthy fade-out. Perhaps it would have been hard to take (at 12
minutes it's not exactly a cheerful, little pop dittie), if it weren't for
the fact that beneath the initially disturbing layers of guitar feedback/noise/distortion,
there are always simple, recurring melodies that manage to keep an atmosphere
of cinematic melancholia intact. The best example on the album is probably
"Jackie Says," which despite its very basic structure (one built-up climax),
makes the biggest impact, with an almost childishly simple melody that goes
on and on and on, along with a backing that develops and intensifies until
it kicks off (after about 4 and a half minutes or so) a noisy peak that situates
itself between SST-era J. Mascis and My Bloody Valentine. The song's evolution
comes off as so natural ànd logical that you even don't notice that they're
actually freaking out. The 10-minute "The Kidnapper Bell" unfolds equally
slow and reaches even extremer heights, but somewhat lacks the impact of the
previously mentioned songs because of its monotony. Basically, these three
songs (half an hour of music) would've been fine, but the band adds another
half hour of music, which unfortunately isn't as strong as the album's first
half. Album closer "Human Highway," embellished with poignant cello-parts,
evokes an almost Tindersticks-styled atmosphere (it's late and lonely and
there's no return or redemption possible anymore), is the most beautiful,
while quieter songs "OP Beach" and "L'America" are by the books post-rock
that's inoffensive, but also could use some more excitement. An enormous blast
of noise is exactly what you get at the end of "Error #9," but regrettably
the song has little more to offer, unless you already freak out when hearing
the typically intertwining guitar lines and hypnotic semi-grooves (which are
a bit reminiscent of Explosions in the Sky's efforts). So there you are: Under
the Pipal Tree is too long and a occasionally a bit bland, as it too slavishly
tries to keep up with the competition, but the album's first half suggests
that they'd ultimately be capable of something bigger and better. Which did
happen.
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