MONO

The only real problem with diving into MONO's extensive catalogue of albums is that there is a very real possibility that you will never come back. The Japanese trio may have started life as a fairly perfunctory atmospheric rock band, with a heavy debt to SONIC YOUTH and MY BLOODY VALENTINE, but over the last 25 years, they have steadily transformed into one of the most immersive and emotionally devastating forces in modern music. Fond of an emotionally overwhelming barrage of sound, twinned with pinpoint dynamics that are particularly devastating in concert, MONO make music that bruised souls can climb inside to bask in its infinite resonances and, quite possibly, have a little cry.

Having long since transcended the whole instrumental post-rock scene, MONO deliver albums like precious missives from beyond. "Snowdrop" is the follow-up to 2024's "OATH" and while it shares much of its predecessor's sound and scale, this swiftly identifies itself as an even more ruinous emotional onslaught. Guitarist Takaakira "Taka" Goto has always had the ability to wring soul-scalding melodies from his instrument, but this time around the beauty and fragility of MONO's music seems even more upfront and mesmerizing, as if responding to the grim, near-hopeless mood of the times.

The opening title track is lush with peripheral keyboard fog, as Taka picks out an exquisite motif from his guitar. As familiar as this kind of music is, MONO still manage to make songs like this sound utterly fresh. As each nebulous crescendo and free-flowing surge of sound drags the melody along, the outside world seems to drift away into the far distance. It may be difficult to truly lose oneself in music these days, but "Snowdrop" does most of the hard work for you. Graceful, elegant and shimmering, it feels like being warmly hugged in a blizzard. And it is to MONO's credit that they keep this up for an impressive 50 minutes. No two tracks sound the same, and every song harbors its own emotional pull.

The most ingenious thing about these songs is how MONO continually blur the lines between crestfallen despondency and hopeful fervor. "Winter Daphne" is simultaneously sorrowful and uplifting: a dizzying concoction of melodic brilliance and atmospheric depths, it was a shrewd choice of a preview single. But in truth, any one of these songs will give the average sentient human being's heartstrings a strenuous tug. For its epic, expansive, slow-burning beauty, "Gerbera" is one very obvious standout. The closing "Farewell to Spring" is similarly grand and hypnotic. But to get to the heart of "Snowdrop", time spent with the jaw-dropping "Bells of Ireland" would be strongly advised. It might break your heart, but there will be few pieces of music released this year that provide such succor and solace via the medium of piano, cello and hazy strings (or are they synths?). Just gorgeous.