Wintery cold has always been an essential characteristic of black metal. Yet there are few bands that integrate this style in such an immersive manner as CANTIQUE LÉPREUX from Québec do on their current album „Paysages Polaires“. In our interview with frontman Blanc Feu you can read more about the lyrics and images, which shouldn’t be taken too literal, the remarkable story behind the artwork as well as the inspirations of the band.
CANTIQUE LÉPREUX seems to me to be a rather morbid, contrasting band name. What was your thought behind it?
The band’s name would translate to something like „leprous hymn“. It is surreal, but intended. You could say it represents black metal: a sick spiritual song, a curse that you cast upon the world. And leprosy is a very interesting sickness, because it is ancient and has a mythic vibe to it, which gives a feeling of timelessness.
You and your other two bandmembers also play together in a few other bands. Why was it important for you to found CANTIQUE LÉPREUX together despite these other projects already existing?
At some point, we felt that we needed a band that was focused on the spirit, that carried the atmosphere of bands that got us into black metal at first. At that time, I already had a bunch of songs in that vein, but it took until 2014 for us to make a selection. Then, we had to reflect a lot on what would be the direction. You can guess that we chose the cold, cosmic yet lyrical way.
What do you think is the essential musical core of CANTIQUE LÉPREUX?
That would be to pay respect to the legends of the genre. I don’t see us as a clone band or 90’s homage band, though.
Your music can undoubtedly be called ice-cold black metal. Where do you get your inspiration as an artist from?
You may have guessed that music itself plays a huge part. We feed on black metal from all eras and countries, not forgetting métal noir québécois. We also draw a lot of inspiration from hiking and the landscapes of Québec, but it seems like people are very literal in their interpretation of our lyrics and imagery, so let’s add some more. I’m really into cinema, horror movies and the films of Andrei Tarkovsky, for example. Also Québec’s literature: Hubert Aquin and contemporary writers like Andrée A. Michaud and Gaétan Soucy. I used to read a lot of poetry but I’m no longer up to date. I still enjoy poems of Roland Giguère and Fernand Ouellette.
Especially in southern regions black metal bands often sound quite warm and earthy. What do you think of this other approach to this style of music?
Sorry, I never thought about this and I’m not sure I’d find examples to back my ideas.
Unlike many other black metal bands, you haven’t released any demos, EPs or splits yet, but only two full albums. Can’t you get that much out of shorter releases or is there another reason for that?
We always focused on releasing full lengths recorded in studio (although we did most of the recording and mixing jobs). We did not want to put out a rehearsal-sounding thing and EPs did not feel like a good debut. Splits we considered, but it was hard coordinating all of this so it did not happen.
Your current second album „Paysages Polaires“ is named after a poem by René Chopin. The title seems almost peaceful, but the music is very wild and dramatic. Why do you think it’s still the perfect title for the record?
Like I said, people are very literal about their interpretation… They are missing the point. The thing is, those are not literally paysages polaires (polar landscapes). They represent the travels within oneself, through hostile yet intimate territories. Life-threatening weather and harsh survival are mirroring the misery and gloom in our music. We are reaching for the extremes on the outside, but also within us. Each song is a quest where we test ourselves.
There are certainly very impressive winter landscapes in Canada. But what exactly started your fascination for them?
You see, we live in Québec. Canada is like a foreign country to us, it’s like talking about the United States. About my interest for Québec’s landscapes, well I’ve always spent a lot of time outdoors, since I was young. Our mountains are very old and the erosion from the wind and rain make them look like huge hills instead of pointy teeth. I think the most important would be that we have millions of lakes and thousands of rivers. We have a huge territory and most of it is wildlife. It’s easy to get away from the city and civilization.
In terms of lyrical content the album certainly doesn’t just deal with nature in the cold season, right? What other themes do you take up in it?
Grief, sickness, the Origins, death, fear, animism, identity, transcending humanity.
Already on your debut coldness was a very present motive. Do you think that at some point you will concentrate more on other subjects?
We already do, but yes the imagery is going to change in a near future, although I’m not willing to share this right now.
What do you think is the biggest difference between your debut „Cendres Célestes“ and your new record?
The vocals are more lyrical and I think the album is more dramatic. There is also more variety in tempi and the songs are more focused, without being straight-forward. And better production, of course.
On the opener „Le Feu Secret“ you also use chorus-like clean vocals. Why did you use this vocal style only in this particular track?
Mostly because it’s the only part I felt like it. I recorded some more on other tracks, but I wondered if it would create a pattern and maybe anticipation for our upcoming albums, so I deleted them. I also have to be lucid about the arrangements as to not overload – because that’s something I do spontaneously. I did not want the album to be too “crowded”, since that would have killed the desolate, vast atmosphere we were aiming at.
Would you say that on „Paysages Polaires“ there is a certain part that could be viewed as the climax of the record?
We tried to have a climax in every song, so there is not only one. Of course, we put „Le fléau“ at the end of the album because the last riff with fast double bass drumming was pretty epic.
The cover shows the painting „Crevasses On The Giant Glacier – Mont Blanc Massif“ by Gabriel Loppé. How did you find it and what made you decide to use it for the album?
I found it accidentally. The painter was an experienced mountain-climber who would bring his material on top of the mountain and create on the spot. Apparently, his colleagues would ask him to go back when it was getting dark and dangerous but he would paint until it was done. That’s pretty ballsy.
Just like your debut your new album was released through Eisenwald. What do you appreciate most about working with this particular label?
Absolute dedication and full respect of our approach and creation. Plus, very resourceful and supportive!
What will happen next with CANTIQUE LÉPREUX? Do you plan to work on the follow-up album to „Paysages Polaires“ soon or will you take it slow for now?
We already started working on the third album! About four songs for the moment. I have lots of material, but I am very strict about coherence.
Let’s continue with a short brainstorming. What comes to your mind while reading the following terms?
Winter sports: Nordic skiing
Natural romanticism: Sturm und Drang
Depressive black metal: Meh
Global warming: The worst is to come
Solo project: Good occasion to experiment and go beyond yourself
Current favourite album: Vemod – Venter på stormene
I would like to thank you again for your answers. The last words shall be yours:
Cheers! Thanks for your in-depth questions!
20. Februar 2019 Stephan Rajchl
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