Margaret Hermant is a violinist, harpist, and composer based in Brussels, with a degree from the Royal Conservatory of Brussels. Rooted in classical and contemporary music, she has cultivated a unique voice in the post-classical genre, combining harp and violin with experimental acoustic processing.
Her work spans film scores, theater, dance, and art installations, often marked by her innovative sound design in collaboration with producer Fabien Leseure. As part of Echo Collective, she contributes to projects like 12 Conversations with Thilo Heinzmann (Deutsche Grammophon), The See Within, and the latest release Mirror Image (Naïve Records), working with artists such as Jóhann Jóhannsson, A Winged Victory for the Sullen, and Christina Vantzou.
Her solo career includes standout contributions to Deutsche Grammophon’s Project XI with Under (2021), Mari Samuelson’s Lys with Lightwell (2022), and her acclaimed full-length film soundtrack debut in 2023. Known for her versatility and creativity, Margaret continues to push boundaries at the intersection of classical tradition and modern innovation.
Finally, an album of their own material, The See Within, confirms Echo Collective are equally inspired creators, using their past accomplishments as a springboard to a new, illuminating vision. From brief, singular themes to lengthier, shifting and questing episodes, this masterclass in composition, expression and technique bridges intimacy and grandeur in line with the most rewarding of post-classical works.
The Echo Collective performing ‘Mirror Image’ this Wednesday, 22.1.2025 at silent green in Berlin.
FACTS
1. Happiness and Love are Contagious. Laugh and Love with every ounce of energy— they are the most beautiful things on earth.
2. Every day of my life, I weep for the people and innocent children who suffer and are tormented by war.
3. True power lies in silence—when no one needs to be pushed, when fear is absent, and peace can envelop our bodies, connecting and resonating with everyone.
1. What is the biggest inspiration for your music?
My greatest inspiration in music is intuition—it’s that magical moment when I sit at my instrument, and the music just flows, like my fingers know more than my brain. But to make it happen, … I need everything to be in order—house cleaned, family doing well, and then… my phone switched off.
2. How and when did you get into making music?
I started music at the age of 4, with the violin, following the lead of my brothers and sisters, who also took lessons from the age of 4. I then continued at the conservatory, first with the violin, then the piano, and later the harp… When I finished the program, it felt natural to continue at the Brussels Conservatory, and from then on, it became like second nature—I never stopped playing!
For composition, it came much later… I already used to play second voices or improvise for groups, but starting to write music and releasing it with my name on it came later, long after I left the conservatory. First, there were commissions for theater music, then the release of our first album The See Within with Echo Collective, followed by Mirror Image, and now much more with film music commissions… and my first solo album, which will be released this year.
3. What are 5 of your favourite albums of all time?
Let’s give the one i have in mind just right now:
Nina Simone: “Ne me quitte pas”, In my car, trapped in the CD player
Hildur Gudnadottir: “Chernobyl” ( music from the original TV series), I absolutely love Hildur’s
work. She is fantastic.
Pink Floyd: “The Dark side of the Moon”, All my adolescent journey.
Janine Jansen; “Tchaikovsky, violin concerto”; Janine Jansen’s violin playing is truly beautiful.
Hania Rani: “Home” Such a powerful source of inspiration, both in terms of composition and her
involvement in every single detail of her work.
4. What do you associate with Berlin?
Underground, friends, family, “Hangin’ out”, good food, my first burrito, A Winged Victory for the sullen, Johann Johannsson, the funkhaus, feeling of space, Music industry. And the city where I found my love.
5. What’s your favourite place in your town?
I love going to Place du Jeu de Balle; it’s such a charming area where you can find so much second-hand furniture and clothes. It’s an authentic part of Brussels, with great bars, and you’re always bound to run into people you know.
6. If there was no music in the world, what would you do instead?
if I weren’t doing music, I would probably be a lawyer, or I would work in development science. I already studied law… which I put aside. It could be a beautiful second life, yes
7. What was the last record/music you bought or listen?
I just discovered the latest album by Yair Elazar Glotman & Mats Erlandsson, Glory Fades, which was released today. I’m actually listening to it right now!
8. Who would you most like to collaborate with?
I’m truly fortunate—I’ve already had the chance to collaborate with so many incredible people I never imagined working with in my lifetime! With Neil, we’ve collaborated with amazing artists like Dustin O’Halloran, Jóhann Jóhannsson, Adam Wiltzie, Christina Vanzou, Joep Beving, Stars of the Lid, … Each artist brings their own unique way of sharing music, and we’ve been able to learn and share so much with them. If I had a wish, collaborating with the dance company: Peeping Tom could be a great opportunity.
9. What was your best gig (as performer or spectator)?
My best gig was at Funkhaus, when we kicked off the tour with Jóhann Jóhannsson for Orphé. We built a wonderful team with Echo Collective to join him on stage, and it was the first concert of a series of eight, if I remember correctly. We had no idea how many people would show up. We opened the doors, and the huge venue at Funkhaus was completely packed with people… so many friends! The energy was incredible—playing for the first time with such lovely musicians, and sharing Johann’s beautiful music with him on stage… wow, it was fabulous
10. How important is technology to your creative process?
Technology in music, for me, is wonderful when it helps enhance the musical discourse, when it becomes an integral part of the creative process, and when everything sounds organic. For example, with Echo Collective, we composed the album Mirror Image partly at Funkhaus, with the 4D sound system, which we were able to discover, practice, and experiment with to produce musical material. It’s like an additional instrument, a true playing partner, a color that fully contributes to the music.
Technology has infinite possibilities. Sometimes it can overwhelm us, sometimes it offers too many options, and at times we spend a lot of time figuring out how it works. So, Technology is also about finding a balance between what we want to produce and being attentive to how technology can respond. It’s like a musician in its own right.
11. Please tell us a little bit about your new album “Mirror Image”.
“Mirror Image” is an intimate album exploring Neil’s and my musical path together. It’s an extended conversation between us that echoes our past and present. We bring a lot of different textures, techniques, and ideas that we have developed together over the years of creating and collaborating into this album. The live show is an extension of the album, allowing us to share works from past collaborations and creations, as well as the new material. This extende dialogue, face to face, like in a mirror, is presented immersively in 4DSOUND, which helps bring the audience that much closer to our artistic interaction.
