Q&A with the emerging powerhouse producer, Errance

We sat down with Canadian producer, director, and composer Errance, who has unveiled his debut single, ‘Guidance’, a tasty organic house track, on the 1st of March 2024 via Société Holographique de Montréal. Errance is the solo musical project of Gabriel Gagnon, who is beginning to carve out a place for his own musical expression in the wake of a process of deep introspection, self-growth and a profound connection to nature. ‘Guidance’, co-produced by Hologramme, is the inaugural track of his upcoming self-produced album, Errance, set for release later this year. The track has received early support from BBC Radio 6’s Tom Ravenscroft and Deb Grant. 

Listen to his debut single, ‘Guidance’, while you read our interview with him below:



Set the tone for us. Why the arts?

Honestly, there’s nothing else for me. Every time I entertain the idea of pursuing a different path, trying my hand at a different expertise, I find myself returning to music and art. Using my creativity as a genuine form of expression is where I truly belong.


Which comes first when you’re producing – the sound or the idea?

The idea, the concept—sometimes, I can’t quite hear the notes or chords clearly, but I sense the feeling, the emotional state I want to convey. From there, I start working on the sound. It could be inspired by a sequence of chords, a noise I’ve recorded in nature, or a synthesized patch. When these elements come together and stir something within me, I know I’m onto something meaningful.


Does your material feature any collaborations? 

Yes, although the foundation of my creations is typically crafted alone, I inevitably reach a stage where I seek to share them with trusted individuals. Hologramme, my studio partner, transitioned into the role of co-producer for this album, aiding in the refinement of numerous ideas. Additionally, I collaborate with various specialized musicians, such as flute players, horn sections or violin players for example, to further enrich the sound.


What’s on your current playlist?

Jon Hopkins, Aleksandir, Dauwd, Max Cooper, Suppreems, Floating Points, Ross From Friends, Mount Kimbie and a couple of old jazz records like Dorothy Ashby and Pharoah Sanders.


Tell us about the chemistry you have with your fans on stage.

Honestly, it’s been quite some time since I’ve performed live. I’m really looking forward to getting back on stage and sharing some new music. I’ll pour my heart into it, aiming to capture the same essence and emotion I felt when I first created those pieces.


What techniques do you experiment with to get your original sound?

I consider myself more of a collector than a musician. I’m really into field recording—I spend hours wandering around the national park with my dog Pépé, capturing all sorts of sounds that I later play with in the studio. One time, I stumbled upon a hermit thrush and recorded its beautiful song. Back in the studio, I used a pitch mapping plugin to turn it into a unique melody, which ended up inspiring an entire track.

For this album, I made a deliberate choice not to rely on loops or samples. Instead, I got creative with analog gear: vintage drum machines, a Juno synth, old spring reverbs, space echoes, vintage Moogs, electric pianos—you name it. This hands-on approach helped me craft a sound that’s truly authentic and reflects my artistic vision.


Take us through a day in the recording studio.

Running a music house with Clément (Hologramme) means we’re practically living at the studio, juggling various projects and productions every day. Getting into the creative zone requires the right setup: a tidy room, all gear ready to go. During sessions, I clear my schedule and silence my phone — nothing should interrupt the flow.

I usually kick things off by opening a demo or a concept on the computer, sometimes even a phone recording of chord sequences. Then, I listen to music, tweak tones until a creative tunnel opens up. Once it does, I try to leave it open for as long as possible because I never  know when it’ll come back again.


Was there a specific moment in your life where you thought, “this is what I want to do”?

Not really, this idea was always there, floating around, life always brought me back to that path.


Any emerging artists on your radar?



What gets your creative juices flowing?

Calm, stillness, open space.


Take us through your collection of gear, tech or software that accompanies your creative expression.

On this album I used a lot of Vermona DRM1, Moog Model D 1974, Wurlitzer A-200, Farfica Compact Organ, Juno 106, Roland Pro-Mars, Acetone Rhythm Age, Roland CR-5000, Moog Opus 3, the Roland SpaceRe-Echo 301 is present on all the songs, the AMS RMX-16 Reverb also and the Masterroom. I’m old school so I work in Protools. Sometimes I will start an idea in Ableton but I just feel more comfortable in Protools.


Any side projects you’re working on?

Not for now but this summer I’d like to create an EP inspired by the nocturnal wonders of nature. By recording ambient sounds from the night, combining intricate rhythms and melodic textures, crafting a more upbeat atmosphere.


How have you refined your craft since you entered the industry?

Exchanging and crafting sounds with artists and other producers really improved my production skills. It’s all about sharing and giving. Sometimes you will hear or see a trick that will change the way you work forever.


Breakdown the news for us: what can we expect from you this year?

Well, 3 more singles, than the album a release show maybe and a lot of collaborations with people that inspire me. I’m currently building a new studio in the woods near the national park and I’d love to create that Nocturnal EP there.


Famous last words?

Breath, in breath out – nobody moves, nobody gets hurt.


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