The Montreal-based electronic art project blends music and visuals to tell a story.
To thrive in the Montreal music scene, artists must fight to differentiate themselves. The market is oversaturated, and the cost of pursuing music is only rising. Yet, hope is not lost—there are always events looking to platform new voices, granting them a pathway into the scene.
On Aug. 21, La Sotterranea hosted a showcase featuring local underground music groups. Among these groups was Nümonia, a sci-fi synth art project by Jon Asencio and Ani Kalemkerian. This performance would be their first, although the pair met at Concordia University back in the ‘90s.
“I always thought she should have been in a band,” said Asencio. He first asked Kalemkerian to be in a band with him in university, and although nothing came of his suggestion then, his desire to make music with her never went away.
The duo would finally begin working together decades later, uploading their earliest works to Bandcamp in October of 2023. They had no plans of releasing anything officially until they introduced their music to Patrick Martin, owner of record store and music label LeBackstore.
“I was really impressed by this band,” said Martin of the two musicians, who were frequent visitors of the store. The encounter led them to a record deal with Martin just months later.
“It just all sort of happened pretty naturally and we didn’t really think about anything too much,” said Asencio. “We were just having fun.”
Kalemkerian, who studied film at Concordia University, primarily works on the visuals attached to the music. She thinks of their album as a movie and each song as a scene. She hopes to one day have their work shown at a film festival or gallery.
The two have plans to include projections in their shows, though they only had costumes and lighting to work with in this initial performance. From alien businesspeople to plastic surgery masks, Nümonia brought the audience on a visual journey with minimal resources, working several costume changes into their set.
Nümonia is characterized by a recognizably ‘80s and ‘90s underground style, owing to Asencio’s prolific experience in that realm. He was a member of Doughboys, a popular pop-punk band in the ‘80s, as well as the ‘90s indie-rock band Pest 5000.
Kalemkerian and Asencio both point to Upstairs at Eric’s by Yazoo as a major influence. Its sliding synths, electronic sound, and low vocals are distinct characteristics that carry over into their own catalogue.
The album’s influence extends down to Nümonia’s artwork: the expressionless masks they wear are reminiscent of the uncanny mannequin scene on the cover of Upstairs at Eric’s. Nümonia’s visual brand is also recognizably ‘80s through its chrome aesthetic.
Their lyrics are fantastical, with one song notably talking the crowd through the process of hypnosis. The music is evocative in the same way a film score is, in service of telling a story.
The band, however, is more than just a retreading of old ground. The duo’s unique stage presence, narrative focus, and emphasis on visuals allow the music to grow beyond the confines of genre tropes.
Asencio cites his bandmate’s shy but flamboyant personality as a major draw, calling her a natural performer. Kalemkerian’s inexperience feeds into the band’s unique edge.
“She’s totally new to all of this, so her enthusiasm is incredible because she has such an open perspective,” says Kevin Komoda, who mixed their record.
The band’s nostalgic appeal feeds into the larger trend cycles of music in general, especially within Montreal. When one band leaves, another takes its place. The local scene is thriving, but overcrowded, and a lot of bands don’t make it.
Martin, however, believes that Nümonia can escape the cycle thanks to their mix of old and new and their genuine passion. He has high hopes for the band.
