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Feb 18/2016
WORDS Charlie Bossy PHOTOGRAPHY Neil Mota

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.



What do you get when you combine the start of a worldwide tour and the release of a highly-anticipated album on the same day? Ask Lord Huron’s founder and frontman, Ben Schneider, and he’ll say a pretty damn exciting journey ahead. The band’s third album, Vide Noir, released April 20, is already receiving accolades for its raw, lyrical storytelling from songs like “Wait by the River” and “When the Night is Over”. To engage fans at a deeper level, the band plans on creating immersive experiences that elevate the album’s narratives. Lord Huron’s tour includes a stop at Toronto’s Sony Centre on July 25, and at Osheaga in Montreal on August 4. Schneider spoke to us about his love of storytelling, Raymond Chandler influences, and what it was like working with Flaming Lips’ producer David Fridmann. G—You grew up in Michigan. Is that where your interest in music began? BS—There was always music on at our house, and I remember imagining the people the songs were about. The storytelling of songs is what’s always captured me most. As time went on, I was able to convince my parents to let me play bass in the orchestra, which led to me


  Morgan Saint was born into a creative life. Upon growing up in Mattituck, NY with a family of musicians on her mother’s side and parents who worked in interior design, Saint graduated from Parsons School of Design in Manhattan, where she has lived for the past six years. With a major in illustration and a focus on photography and graphic design, Saint has executed a clear vision of her musical artistry. In 2017, at the age of 23, Saint released her debut EP, 17 Hero, on Epic Records. She is a storyteller at heart, combining all of her talents to reveal her narrative as truthfully as possible, one vignette at a time, as seen in all three of the EP’s videos, “Glass House”, “You”, and “Just Friends”. She co-produced each glossy, beautifully choreographed, and high-definition clip with Nathan Crooker, but the lyrics are all hers. They come from personal places yet are vague enough to be relatable. Her electronic pop is lo-fi, but you’ll most likely find yourself snapping your fingers to it. As Saint prepared for a sold-out show supporting Missio in Austin, Texas, Georgie connected with her to discuss coming into her own as a songwriter and



  Listening to any track on EDEN’s debut album, vertigo, is like visiting your favourite city for the fiftieth time except nothing is quite where you remember it. The hotel is on the river, not by the park, and city hall is upside down. The Dublin-raised singer/songwriter/producer who began his career as The Eden Project, melted the best of indie, hip hop, and electronica into 13 deconstructed tracks for vertigo. Following two successful EPs, a shout-out from Lorde, and mid-way through the vertigo world tour, we caught up with EDEN to talk about his new record, and the musical evolution that brought him to it. G—From The Eden Project to the EPs to vertigo, you’ve had some pretty big changes in style. Does it feel that way to you or does it just kind of feel like you’re constantly evolving? E—I definitely see that. There are similarities [between I think you think too much of me and vertigo]—my voice still sounds the same (laughs) and there are various instruments that I just like using—but it’s about progression for me. I could never be someone to make End Credits 2 or something like that. It’s not interesting to me to stay