The Bottom of the Hill is empty as Holograms take the stage for their soundcheck. There is a calmness in the air as supporting bands G. Green and TV Ghost wander about the venue waiting patiently for their turn.
This is the twelfth date on the tour, and it is obvious that there is a sense of veterancy in most of the bands; as if what they are doing in this moment has been done many, many times before.
After a brief run through of what your reviewer believed to be the opening track off their self-titled LP “Monolith,” the band abruptly stopped with one simple request for the sound man.
“I want more reverb. I want it to be like the voice of god is reaching out to you.”
These are the word of Filip Spetze, Hologram’s synth player and accompanying vocalist.
The request is simple, and one that is perhaps asked all too often.
Reverb has become the white noise for the band whose main purpose is to create nothing but a wall of sound. However, in the case of Holograms, it’s not so much as simple blinding noise as it is the feeling they are attempting to evoke.
Composed of Andreas Lagerström, Anton Strandberg, and brothers Anton and Filip Spetze, Holograms is Sweden’s latest post-punk fixture. This is their second U.S. tour, and they like a lot of reverb.