Montreal-based Hologramme’s sound is contemporary “electro-indie”, but created using the power of the retro Moog synthesizer. It’s neither of this time, nor even a previous one. The band is a welcome addition to the already prominent electropop scene in Montreal.
Hologramme released their first record this year – a self-titled album featuring a blend of synths and traditional rock instruments. The band is the brainchild of Clément Leduc and also includes Rémi Chenette, Laurent Saint-Pierre and Dominic Lalonde. Although Leduc does the majority of composing and writing the music, he insists that the group is not just a band backing his vision.
“I record and play the instruments in the studio, but for me this is a band,” Leduc says. “We want to be a band – we want to be teammates. Everyone has the same power as everyone else.”
Leduc believes that Hologramme has what it takes to go international, but admits the decision to go independent can be a hindrance to global success. Although the band has a distributor and a manager, it’s currently without a label. But this doesn’t diminish Leduc’s confidence – he says Hologramme is better off without one: “If you get signed when you’re first starting out, the label can put you on a shelf and do nothing with you.”
At first listen, Hologramme has a danceable, fun and upbeat sound – but Leduc isn’t so sure that’s what the listener should take away. “The beginning is, yeah, maybe happy, but there’s another side…that’s more introspective, darker,” he says.
As Hologramme gears up to record a new album and embark on a tour, Leduc looks forward to taking a more lo-fi approach with the band’s next release – which promises even more retro-style instruments and contemplative themes.
The meaning of Jazz Cartier’s Fleurever is rooted in duality. In the two years since his sophomore mixtape, Hotel Paranoia, the artist has had to “[battle] the balances of love and money, risks and rewards, right and wrong, or living and dying”, alongside coming to terms with the throes of wealth and fame. Subsequently Fleurever—or, as he calls it, his “third project”—explores Cartier’s personal growth in the years following. With his newfound maturity in tow, Toronto’s rising rap star is on course to start a music revolution—well, that’s the idea anyway. Georgie caught up with Cartier to talk about gratitude, the rapper’s personal transformation, and the driving force behind Fleurever. G—Can you tell us a bit about your latest album Fleurever and the inspiration behind it? JC—Most of the inspiration came from growth, and a bit from my departure from Toronto. A lot of the record was made in my last days in Toronto, and just having that cloud over my head and knowing that I’d be leaving soon—it was more so showing my affection for the city that pretty much shaped my sound. G—Did you have a vision in mind when you started writing this album? JC—For the most part Fleurever is just myself and my
When asked to describe herself in three words, Nina Nesbitt didn’t hesitate. “Introverted, creative, and driven”. While you wouldn’t guess the former from her edgy, empowering tracks—her latest single “Loyal To Me” is a girl-power anthem, rallying women to ditch their unfaithful partners—the latter two can’t be questioned. In the six years since she was discovered in an unplanned encounter with Ed Sheeran, Nesbitt has released three EPs and one full length album; toured with Sheeran, Justin Bieber, and U.K rapper Example; and carved her way into the alt-pop scene with a harmonious blend of groove and grit. Earlier this year, the Edinborough-native was one of three emerging female artists chosen to partake in Spotify’s “Louder Together” initiative, recording the first collaborative Spotify single (“Psychopath”) with Sasha Sloan and Charlotte Lawrence, and showcasing her signature style of thoughtful messages pulsating atop hook-driven melodies. With her sophomore album ready to drop, Georgie spoke with Nesbitt about her experience being thrust into the spotlight and maintaining her creative independence throughout it all. G—You’ve been touring a lot this year, specifically in North America. How have your North American audiences been receiving your shows? Is it different than performing for UK audiences?
Named for the Toronto area they grew up in, The Beaches are a far cry from a placid day on the lake. Led by singer/bassist Jordan Miller—with her sister and guitarist Kylie Miller, guitarist/keyboardist Leandra Earl and drummer Eliza Enman-McDaniel—the Canadian four-piece burst out of Toronto with their 2018 debut, Late Show, and have since built up an aura of dissident swagger. Taking home this year’s Juno for Breakthrough Group of the Year, the all-fem rock quartet is bringing grunge, gloss, and 70s glamour to a predominantly male genre. Georgie caught up with Leandra to talk about the band’s latest music video, taking charge of their music, and three simple ways to keep women in the industry. G—Did you grow up together in Toronto? LE—Yeah, I met the girls in high school. Jordan and Kylie are sisters, so they’ve known each other a bit longer, but they grew up with Eliza in Toronto’s Beaches area. G—What kind of music were you listening to at that time? LE—We grew up listening to all of the music our parents listened to. That definitely influenced us while writing our debut album since we drew from a lot of the 70’s music that our