• Setlist

    Set 19 2011, 8:08

    Tue 13 Sep – N.A.P. Tour

    01. Dance with God
    02. I Think I Can
    03. Doggie Howl
    04. Carnival
    05. Blues Drive Monster
    06. Rookie Jet
    07. Instant Music
    08. Comic Sonic
    09. Funny Bunny
    10. Swanky Street (Requested by me <:})
    11. Crazy Sunshine
    12. One Life
    13. Little Busters
    14. Hybrid Rainbow
    15. Advice
    16. Ride on Shooting Star
    17. Last Dinosaur
  • Do Make Say Think + Lemurs 9/29/07 @ Emo's in Austin

    Ott 1 2007, 7:56

    Sat 29 Sep – Do Make Say Think, The Lemurs

    Do Make Say Think is an interesting band. They are certainly at the forefront of the post-rock scene, but they hardly adhere to the formulas that most post-rock bands follow. Bringing jazz-style instrumentation to grand and spacious compositions that have become far too uncommon in the genre, Do Make Say Think are one of the few bands that are keeping things fresh for the undoubtably large fanbase.

    I had not seen this band in a little less than a year, the last time being their set before Broken Social Scene at Stubb's last November and I must say; I was dying to see them play a full set. Having only gotten to taste but a mere sample of their live show as an opening act, I was very much looking forward to this show. After all, I had spent the better part of a semester listening almost solely to "Winter Hymn, Country Hymn, Secret Hymn" as well as "& Yet & Yet."

    After arriving at Emo's and finding out that the Do Makes' tour t-shirts were 20 dollars (that's pretty steep, I already have a shirt...I'll stick with that), we made our way toward the stage. We secured a fairly nice spot and I noticed someone I had seen at probably the past 5 or 6 shows I had attended. He was wearing an Eluvium shirt, which I complimented him on. He complimented me on the Explosions in the Sky shirt I was wearing that day. He asked if I was big on TRL artists, to which I responded with a resounding "yes." Apparently, this dude was from the TRL forums just like me. It was a pleasant surprise to be able to enjoy this show with someone else on the same wavelengths as myself musically.

    As Lemurs started their set, I was kind of reluctant to pay attention...but they actually ended up having a pretty good vibe for dancin' to. Though they weren't the best band ever, they definitely weren't bad. I'd seen worse opening acts (You in Series takes the title for worst) and these guys really knew how to get down onstage. After a pretty energetic set from them, they cleared the stage for the wonderful ensemble that is the Do Makes.

    Charles began the set with a beautiful little speech (I won't attempt to transcribe it here) about living life to the fullest and I was reminded why I loved this band so much; it set a really fun mood for the rest of the night. As he plucked the bassline that opens "Outer Inner & Secret", the audience went nuts. Right then I knew this would be an outstanding show.

    After the segue into "Auberge le Mouton Noir" (or Black Sheep Inn. for those who don't speak French such as myself), I realized I wouldn't be able to remember each song they had played. I remedied this by whipping out my trusty sharpie and a 5 dollar bill. As they played each song, I'd write the name of the song down the back of the bill. A couple next to me was incredibly amused by this for some reason, so I decided I'd post it on last.fm for them to see.

    I won't waste my time trying to describe the atmosphere for each song they played, but there were definitely highlights. Between Charles' awesome bassline during "Reitschule", an awesome live translation of "Hooray! Hooray! Hooray!", and the audience being coaxed ("alright guys, this is the audience participation part") into jangling our keys during "A with Living", there were almost too many awesome moments to list.

    After "A with Living", there was a brief pause onstage and I saw this as my perfect opportunity to shout "play some Slayer!" I had heard of a few instances in which the Do Makes would actually cover Slayer during their sets, so I was really anticipating it just for the sake of the sheer hilarity of it all. I guess they didn't feel up to it though, as Justin instead replied "here's the Do Makes' version of Slayer" before blasting into "Horns of a Rabbit / the Universe!."

    Closing with what Charles referred to as "the big finale", "Ontario Plates" ended the show on the most brilliant note it could've possibly ended on. I walked over to talk to Andy again, and to my surprise he was standing in a circle talking to Michael (from Explosions in the Sky), Esteban Rey (the artist behind all of Explosions in the Sky and Mono's album art), and their other friend Carlos. After brief conversation with these particularly awesome fellows, we left the venue with our head in the clouds and our ears enveloped in fuzz.


    Outer Inner & Secret
    Auberge le Mouton Noir
    Herstory of Glory
    Executioner Blues
    The Landlord is Dead
    Hooray! Hooray! Hooray!
    A with Living
    Horns of a Rabbit
    The Universe!
    In Mind
    A Tender History in Rust
    Ontario Plates

    Do Make Say Think is:

    Ohad Benchetrit – Guitar, bass, saxophone, flute
    David Mitchell – Drums
    James Payment – Drums
    Justin Small – Guitar, bass, keyboards
    Charles Spearin – Bass, guitar, trumpet
    Julie Penner - Violin, trumpet
    Jay Baird - Saxophone
    Brian Cram - Trumpet
  • Mono + Panthers + Coliseum @ the White Rabbit 9/25/07

    Ott 1 2007, 3:38

    Tue 25 Sep – High on Fire, Mono, Panthers, Coliseum

    Although the headliner for this tour was stoner metal band High on Fire, I really had no interest in them prior to hearing that Mono would be touring with them. Honestly, I wouldn't have minded catching their set, but I was there for Mono.

    We got to this show pretty early, so early in fact that we were able to chat with Taka and Yoda for a bit before Coliseum went on. The members of Mono are so sincere that it was almost as if I was talking to some friends I hadn't seen in awhile. My ladyfriend had been wearing their "Are You There?" t-shirt (a shirt which I want very badly now) and they even thanked her for showing her love of the band. Taka mentioned that they would be playing a new song and that they were quite nervous in doing so, but I assured him that they'd have no problem onstage. After shaking hands and wishing them luck, we proceeded to enter the sitting area of the venue. I walked by Yasunori, who was sitting at a table with his Macbook, and over to Tamaki (who always mans the merchandise booth.)

    I talked with her for a bit about their newest rarities collection (Gone) before another person walked up and started asking about Mono. He had never heard of them before and was clearly there for High on Fire (or so his shirt told me.) Tamaki was having difficulty describing their sound in a way that wouldn't confound him, so I used the explanation I always use: Mono is classical instrumentation using rock instruments. After buying their DVD and catching back up with my friends, we headed for the stage.

    There wasn't a soul around for what seemed like miles (it was really more like feet, there were a few people leaning on the opposite walls.) I realized this would probably be the most intimate environment I would ever witness Mono in.

    We stood for what seemed like an hour before Coliseum finally emerged. They weren't a terrible band (despite their unbearably static bassist who moved maybe once during the entire set), but I haven't really ever been much into metal. Their drummer was a fucking beast, though. He broke approximately two drumsticks by the end of the set. They played for about 30 minutes before giving way to Panthers.

    To be honest, I wasn't expecting much from Panthers, but boy did they rock my face off. Each member was just as alive as the next, moving around the stage and dancing their asses off as they stampeded through their set in a way that made Coliseum look like two year-olds. Their guitarist was the center of attention for me; his riff-mongery had me shaking my legs almost clean off my body.

    After Panthers' set, it was finally time for Mono to take the stage. I hadn't seen them since May, and after this I wouldn't be able to see them for at least 2 years, so my heart was yearning for this moment.

    Appropriately, Taka and Yoda opened the set with the delicate interplay that begins You are There's most brilliant track (perhaps solely comparable to "Moonlight"); "Yearning." I felt my heart fluttering as the layers of the song began to swirl and swell, taking hold of the hearts of everyone there. As Tamaki entered the song, I felt the feeling that comes when your ears are met with overwhelming beauty. This feeling is exactly what defines a Mono show to me. The socialites who couldn't help but converse during the beautiful ambience that opens the song were dead silent as Mono headed towards the climax, and as always I got to see a few people jump at the sudden explosion of sound about halfway through. As Taka bounced uncontrollably in his seat, I couldn't help but bang my head right along with him.

    As the noise that ends "Yearning" began to fade out, Tamaki and Yoda somewhat predictably began to play "a Heart Has Asked for the Pleasure." Alongside a few others, I began to sway gently as the song played its course before Mono delved into what was an incredible surprise for me: "the Kidnapper Bell." I had never heard Mono play anything off their first album, and I had in fact heard that it was a rare sight to behold. "The Kidnapper Bell" is probably my most favorite song on their first album, so I was quite captivated. The Mono that recorded "Under the Pipal Tree" was a very different Mono, as Taka himself has stated that it was "a very young record." If anything, the contrast between these songs portrayed how far Mono has really come in maturing their sound.

    Contrasting the somewhat dark nature of "the Kidnapper Bell", Yoda next introduced the notes that begin the heartbreaking beauty of "Halcyon (Beautiful Days)", which is now a staple of Mono's live set. If you have not seen this song performed live, you have not witnessed the ceiling of live music.

    Finally, to close the set Mono began to play a song I didn't recognize at all. It was probably the highlight of the set to me, I can't really say for sure but I think they really nailed it. Closing their set in menacing washes of noise and distortion, it was time to say goodbye. As the final droning tones finally died down, I felt the need to shake Taka's hand and thank him for such a tremendous display of emotion.

    If I had to say goodbye for a couple of years, I couldn't think of a better way to do so.

    Mono is:
    Takaakira "Taka" Goto
    Yasunori Takada

    Yearning (15:38)
    A Heart Has Asked for the Pleasure (3:43)
    The Kidnapper Bell (10:00)
    Halcyon (Beautiful Days) (8:09)
    New Song (10:00+)
  • 65 Days of Static + This Will Destroy You

    Lug 30 2007, 0:26

    Sat 28 Jul – Fear Before the March of Flames, 65daysofstatic, Hot Cross, This Will Destroy You

    Yes, Fear Before the March of Flames and You in Series also played, but You in Series was a shitty scene band, and I left before Fear Before the March of Flames because they're the same thing; not what I came to see. That said, 65 Days of Static and This Will Destroy You put on a fucking amazing show.

    After a particularly boring set from You in Series, This Will Destroy You finally emerged onstage. I was pretty happy to know that this time, buying their LP (Young Mountain on orange vinyl) beforehand was a smart move, as the orange version was gone after the set when I went to buy a copy on white for my lady friend as well as a t-shirt for myself.

    After we secured a nice spot directly next to the stage, they soon began their set. Being a Post-Rock band, they adhered to the oft-cited formula of soft/loud dynamics, but they definitely brought their own flavors to this patented mix. Most songs saw extensive usage of an e-bow (I fucking love e-bows) and volume pedals, which coaxed a glorious swell of sound from the right-side guitarist's beautiful mapleglo Rickenbacker 360/6. Furthermore, their bassist was no slouch; usually not going near a pick, but still achieving a loud punchy line that would normally almost certainly be swallowed by either guitar's feedback and swells.

    By the end of their set, they had begun to introduce the electronic part of their sound via a well-placed laptop. The contrast of the stutter-stop laptop beats and the live drummer's analog sound was both refreshing and surprisingly effective, especially while being complimented, NOT overwhelmed, by somewhat low-key and minimal guitar melodies. The phrase "same old, same old" couldn't be more wrong in this case.

    After This Will Destroy You's explosive performance, Sheffield's own, 65 Days of Static had their work cut out for them. Luckily for them and everyone else in the venue, they did not disappoint.

    Though they are usually pigeon-holed as Post-Rock, 65 Days of Static also lean towards Industrial in sound. Live samples and synth beats were present throughout most of the songs, with at least one instance of a prominent keyboard melody. The guitars were heavily distortion-driven, but never sleazy--a property that definitely shined in this setting. I could tell all the scene kids were bewildered when this band got going (going so far as to include the bassist helping out on drum duties), seemingly startled that any of the prior artists could perform better than their beloved Fear Before the March of Flames.

    Before 65 Days of Static came on, I had asked a guy I knew from my hometown to snatch their setlist for me when he got a chance. So after the set, he remained true to his word despite a particularly grabby girl trying to get ahold of the setlist first. I handed it to my lady friend (payback for the Grails setlist she snatched for me), who was a previous fan of the band. The songs were written by their nicknames, so I can't really share it at this point.

    No setlist for either of the bands yet, I'll update this later when I can confirm them.
  • Maserati + My Education + Lazar Wolf @ Emo's Lounge

    Giu 15 2007, 23:45

    Mon 11 Jun – Maserati

    Fuck yes, the day had come. Maserati. I had just recently received their new 2xLP (Inventions for the New Season) on beautiful pink & white-splattered vinyl one week prior. I had all three albums, and was way into them.

    Hailing from Athens, Georgia, Maserati presents a fresh and upbeat approach to Temporary Residence Limited's primarily post-rock line up, bringing forth some of the fastest and danceable drums known in the form of Mr. Jerry Fuchs (he also did the artwork for their shirts and the 2006/2007 TRL sampler CD, cool). Their melodies are quite catchy, and their songs draw you in quite easily.

    Needless to say, I was very excited to find that they were going to play at the lounge. I love when bands play at the lounge due to the chill vibe the place just overflows with, coupled with easily being able to be in the front if I want.

    The first act that played, Lazar Wolf, didn't really catch me. The lead singer/guitarist seemed kinda ego-driven, and their noise passages didn't seem unique enough to keep hold of my attention. They weren't a complete disappointment, but due to various malfunctions with the guitarist's cables, most of the ferocity he was exuding (or at least trying to) would be stamped out relatively quickly.

    Despite my attention being momentarily lost, I was still eagerly looking forward to My Education. I had heard about them on the TRL forums and was told that I'd be lucky to see them, so my expectations were kinda high.

    Holy fuck. They completely blew me away. Their sound boasted an elegant, epic post-rock sound brandished with beautiful classical instrumentation in the form of keyboard, violin, and somewhat unconventionally, a grand (huge) xylophone. The rhythm section was especially captivating--their drummer really stole the show at times. For being bound to a seat the whole time, their keyboardist was surprising energetic and emotive, often jumping and dancing whilst frantically fingering the keys. I wish I had gotten some of their material beforehand, because their performance was fantastic.

    Finally, the two guitars of Maserati emerged (a Jazzmaster and a Strat respectively) to open the first half of "Inventions." About halfway through the song, Jerry and Steve make their way onstage, bringing the drum and bass sections into the mix before the song takes off, guitars aflame. Right from the beginning, Jerry's manic drumming captured me completely, his drum set strategically placed at the front of the stage. It was a translucent blue, lit by a few blue light bulbs which made it look incredibly awesome onstage. After opening in the most spectacular way possible, they decided to follow up with Inventions' album follow-up, 12/16. Featuring great interplay in the intro and lots of nice tone and delay, the song soon ignites into a crazily danceable (or noddable, if you were one of the other twenty people nodding their head) beat that ends much heavier than where it started. After a brief moment of sharing some thoughts on their last stint in Austin with the crowd, they jumped into the most upbeat song on "Inventions for the New Season", "the World Outside." As if everyone wasn't already dancing enough, the opening notes that begin "Synchronicity IV" sounded and launched into the centerpiece of the new album. Jerry once again astonished me as one of my new favorite drummers, and probably as one of my favorite ever. Ending in shimmering and soaring guitar interplay, I would've been satisfied even if the venue been bombed to ashes right then and there. Before another brief sharing with the crowd, they announced their last song to be "Show Me the Season." Opening with a fucking awesome (no other words to describe it) fast-tempo bassline, this song truly shows off their proficiency as a band. Each difficultly timed cue was hit dead-on, showing how tightly knit their instrumentation is; truly a worthy track to end the set on. Towards what would be the end of the song, both guitarists finish up and walk off the stage, and as if only to challenge Jerry's skill, this particular version of the song ended with a 5 minute+ (?) drum & bass solo. Truly amazing.

    After the show, I made sure to pick up their quite-limited 7" (Towers Were Wires/Asymetrical Threats, 616/1000) for myself and my lady friend, and a t-shirt for myself and my nephew. I then decided to try and get our 7" signed; I discovered that the band themselves are actually terrifically nice guys. They even personalized our 7" with brief messages including our names, which was incredibly nice of them to do. We talked with them a bit about how much we loved their show, and how Austin was a neat place to play. Overall, this was probably one of the best shows I've been to. I will definitely catch Maserati on their next stay in Texas.

    Maserati is:
    Coley Dennis - Guitar
    Jerry Fuchs - Drums
    Matt Cherry - Guitar
    Steve Scarborough - Bass

    Inventions (9:43)
    12/16 (5:45)
    The World Outside (5:40)
    Synchronicity IV (7:14)
    Show Me the Season (9:23)*

    *Again, these times are the times noted on the album. They probably played a bit longer, and ESPECIALLY played longer on "Show Me the Season."
  • Melt Banana + XBXRX + Finally Punk

    Mag 31 2007, 11:26

    Sat 26 May – Melt-Banana, XBXRX

    Prior to attending this show I had not heard XBXRX or Finally Punk before, but I had heard Melt-Banana here and there. Most recently, I had heard their song for an [awesome] show on Adult Swim called Perfect Hair Forever. Their noisy instrumentation and quirky gatling-gun delivery vocals are dizzying and offsetting upon first listen, but upon further listening you might discover some catchy hooks underneath all of the fuzz and noise. Not having much listening experience with this band, I was still able to assume that they are a great live band, and I was far from wrong in guessing so.

    Finally Punk opened with an energetic and gritty set, albeit somewhat amateurish in nature. Sure, the guitar was too low in the mix, and the bass was way too high, but they marched on. They had a very honest stage presence, even going so far as to call out the audience on our stubborn silence. I can't necessarily say that I loved their music, but their performance was admirable.

    Finally Punk gave way to XBXRX, a band that has opened for Sonic Youth among others, and a band that totally fucking destroys live. I bought one of their LPs beforehand based on its great artwork and I was pretty much crossing my fingers that I would like their sound. I was pretty surprised when they didn't sound anything like their cover art fortold.

    If there was any immediate melody to be found, I was missing it, but damned if they didn't tear up the stage in a flurry of energy and volume. A mosh pit was almost immediately formed near us and as a result I was forced to push people away a few times. I'm sure that if I had listened to an album or two before seeing them I would've been able to notice their subtleties, but I didn't quite have the chance to do so. I still enjoyed their set quite a bit; I'd never seen such antics performed during a show before. There was rafter-climbing, upside down vocals & guitar whilst hanging off said rafters, spitting, and the ritual throwing of instruments; all of which made for an awesome experience.

    After the crazed sonic mayhem of XBXRX, Melt-Banana appeared to have their work cut out for them. When they finally launched into their set, I was immediately hooked. They performed wielding the energy of the previous band, yet without most of the abrasion; the hooks were easily found and VERY danceable. I couldn't help but dance throughout the rest of the show. Their bassist was spectacular, laying down some really awesome and catchy lines (I wish I was closer to her), while their guitarist controlled their chaos with a huge array of effects pedals paired with a beautiful vintage SG Custom.

    Overall, being the first show that I had gone to without really researching the bands that would be performing, I was pleasantly surprised and definitely had a great time. Next up's Maserati in June! Yeah!
  • Mono + World's End Girlfriend + Grails

    Mag 8 2007, 5:12

    Thu 3 May – Mono, Grails, World's End Girlfriend

    I was looking forward to this show for a very long time. Mono's approach to the contemporary post-rock genre consists of beautiful and melancholy melodies, including some of the loudest crescendos ever to be heard. They have acquired somewhat of a reputation for playing very, very loud shows, even to well-seasoned show-goers (to quote wikipedia).

    World's End Girlfriend is a different experience altogether. I have had his (it's one person) complete discography for a long time, and I recognized every song he played. His work is so unique, I have trouble placing it into a genre. It contains many elements of post-rock, such as loud/soft dynamics, thundering crescendos, and some beautifully sad and soft moments, but then it also contains many elements of traditional classical music (including strings, lots of piano, sometimes even horns.) The songs he played were a bit reimagined for his solo live performance, and it added a lot to the dramatic aspect of his music.

    Grails is a very neat and unique band as well. They are signed to Temporary Residence Limited (alongside Mono, Explosions in the Sky, etc.) and they play an interesting blend of post-rock garnished with some middle-eastern influences and dub-style bass and beats.

    Before the show, I made sure to grab 2 Mono t-shirts, the limited colored pressing of the Mono & World's End Girlfriend collaboration LP, Grails' new LP (also colored, including a beautiful etching on side 4), and World's End Girlfriend's new album (Hurtbreak Wonderland) for my friend Aldy in Washington, who due to bad luck (the Mono/WEG show is 21+), will not be able to see these bands live. I managed to get the Mono + WEG LP signed by all of the members of Mono and World's End Girlfriend himself (he also signed Aldy's Hurtbreak Wonderland; I can't wait to send it to him.)

    Onto the performances.

    Grails is fucking awesome live. Their set was so beautifully composed, yet rocked so hard at the same time. The members moved around stage, trading places and instruments with one another quite a bit. It helped keep things dynamic. I usually found my eyes glued to their bassist, who made everything look easy. He would dance as he led the band into their passages and was easily the most active member on stage. Their buildups took their time to reach their destinations and had a wonderfully dramatic effect on me. Definitely an underappreciated band. I managed to get ahold of the guitarist's setlist.

    Erosion Blues
    Wongwei (?)
    Silk Rd
    Reichel (?)
    Outer Banks
    Opium (?)
    Bass X (?)

    Grails is:
    Zak Riles, Emil Amos, William Slater, Alex Hall, Ben Nugent

    World's End Girlfriend soon emerged. I felt my heart skip a beat when I first caught sight of him. When he started playing Daydream Loveletter, I almost started to cry. I had been hoping with all my heart that he would play something off Farewell Kingdom (his first, and my favorite.) Seeing it live was so much more emotive and captivating. He even managed to shut up the drunkies in the back with the gorgeous atmospheres he created. After the beautiful ambience that is Daydream Loveletter was near completion, he segued into Scorpius Circus while my lady friend and I freaked out in excitement. Scorpius Circus is my favorite track off of one of his more recent albums, the Lie Lay Land, and I shouldn't have to say; it fucking rocks live. I found myself lost in his world as he moved through each passage before the final conclusion of the song, which ends in walls of spectacular noise and samples. Finally, he began to play one of his most dramatically effective songs (also on the Lie Lay Land), We are the Massacre. It was truly a sight to behold when he reached the loudest part in the song. Maeda is a fucking genius; how one man can create such beautiful music I know not.

    Daydream Loveletter (7:32)
    Scorpius Circus (10:17)
    We are the Massacre (5:45)

    Eventually Mono themselves came out. We were directly in front, right underneath the tremendous onstage force that is Taka. To my surprise, he played mostly standing throughout their entire set (which was fucking mindblowing, I couldn't think of a more perfect set.) I really, really, really more than anything wanted to hear the Flames Beyond the Cold Mountain live. If I had heard that song, my life would be complete. When they were finally ready to play, the ambient droning tone that opens the song began to sound, and I immediately recognized it. I had to keep myself from jumping up and down in excitement.


    As it began to climb and eventually reach the song's peak, I kept saying to myself, "this is getting pretty loud..." I kept thinking, "this must be as loud as it gets", but then it would get louder. I have never in my entire life heard a band that comes close to matching Mono in sheer levels of volume. I felt like my ears couldn't grasp the full spectrum of it all, it was fucking amazing; almost as if the music was going right through me. A person next to us was overwhelmed by it and began to hold his ears and put his head down on the stage itself. They soon appropriately began to play "a Heart Has Asked for the Pleasure" to follow the incredible tidal wave that ends "the Flames Beyond the Cold Mountain." It is a very ambient and beautiful piece, a bit on the shorter side at less than 4 minutes long.

    Immediately thereafter they began "Lost Snow", which is the longest and loudest track (clocking in at just over 15 extraordinary minutes long) on "Walking Cloud, and Deep Red Sky, Flag Fluttered and the Sun Shined." "Walking Cloud..." happens to be my favorite album, and Lost Snow my favorite song off that album. I knew this was going to be life-changing. As "Lost Snow" began to reach levels in sound I had yet to even come close to reaching, I looked around the audience and saw what was the most serene sight I'd ever seen.

    A couple of hundred of people just standing, staring in awe; completely captivated by Mono's monumental force.

    I had heard that Mono has a difficult time transferring their live sound to their albums, and now I know why. Recorded mediums don't get this loud. Mono has stated that most of the intensity that is experienced throughout their live shows is due in part to the fact that they become so physically involved in the music that is coming out through them. Seeing Taka play these songs was an especially moving scene in itself. He would writhe and contort while coaxing these otherworldly sounds out of his show-worn Fender Jazzmaster. I took about 10 pictures at different points in time; I had to have these scenes captured.

    When Taka and Yoda began the interplay that opens "Yearning", I felt my heart nearly jump right out of my chest. "Yearning" is largely regarded as the landmark track on "You Are There", Mono's most recent album offering. It is a fifteen minute journey into musical bliss. Everyone around me had a look on their face that couldn't possibly represent anything other than "oh my fucking god." When "Yearning" is played, it is almost required that "Moonlight" accompanies it. It was especially awesome because it began with Tamaki on keyboard and Yasunori on synth duties. After playing 4 of the loudest songs in their catalog, they decided to close the set with the most beautiful of all goodbyes; "Halcyon (Beautiful Days)." Seeing this song live defines what Mono does and is as a band. Beautiful and soft passages that are the most beautiful of beautiful and softest of soft. A sudden and Earth-shaking climax that is the most sudden of sudden and loudest of loud.

    This band is what all live music should strive to become.

    The Flames Beyond the Cold Mountain (13:29)
    A Heart Has Asked for the Pleasure (3:43)
    Lost Snow (15:12)
    Yearning (15:38)
    Moonlight (13:04)
    Halcyon (Beautiful Days) (8:09)*

    Mono is:
    Takaakira "Taka" Goto
    Yasunori Takada

    *Times represent timelengths for the recorded album versions; most were probably a bit longer live.