at: 31th, March 2017
don’t try to follow any cultural trends
about black metal. It’s a strong part of
our musical influences and the ambiance
generated by a dark music fits our
purposes perfectly. (...)"
Since your inception in 1998, you’ve passed through
several line-up changes and other sorts of difficulties.
Tell us a bit about the early days and how would you
characterize the development of your band during all these
Tremblay: It started with two young geekish metalheads
scratching their guitars in their respective mother’s
basements. When we first met, I was much more into old
school thrash like Metallica and Megadeth; David was more
into old school black metal. So at first, there were some
clashes, style-wise, but we figured out quickly that we
share a common passion for dark melodic metal. I didn’t
like hard screaming back then but David managed to change my
mind with his high-pitched inhuman screams. I remember
telling him something like “Wow! It sounds like an
agonizing vampire bleeding to death in a snow bank”. I
think it’s the moment we both knew we had a very good fit
and all this new tormented stuff David introduced me to
started to inspire me a lot. We were very productive in the
first one-two years but aside from Awakening and Salem, what
we wrote back then has not been released yet. We felt that
our “old” style, more black than thrash, yet very
melodic, was not appropriate for a starting album.
Martel: We agreed on keeping those older songs for our
second album, as they pretty much belonged together, and we
are currently working on our “Chapter Zero” album, which
will also feature newer material in the same style.
We never managed to form an actual band back then as I think
people were not taking us seriously enough. And a bit later,
David moved away to another city for about six years.
Meanwhile, I kept writing a lot of stuff and my style
evolved to that of Seeds from the Void. Finally, David came
back to Quebec City but after an unsuccessful last attempt
to form a band and a disappointing demo we had lost the will
to do it and the project was put on ice indefinitely. We got
back on track in 2013, after I had stumbled into a local
musician I had lost sight of for a while. He had since then
put a little studio together and was offering his services
to record our music. It took about six months to record both
guitars and bass (he did the drums), and a couple of weeks
to complete. Unfortunately,
because of personal problems on his part, it was not
possible to finish recording the vocals of "Seeds"
so we had to change our plans and drop a song from the
original lineup. Also, he had the only copy of everything we
recorded and getting everything back was… complicated. For
a while, it looked like the project was seriously
compromised, but it turned out okay in the end.
A few months later, after some technical difficulties, I
discussed about the project with Sébastien Robitaille
(Sorcier Des Glaces, Moonlyght), who’s a friend of mine.
We had wanted to work together for a long time and, as
he’s a producer and someone I knew would get exactly what
we were intending to achieve with this album, this was the
perfect opportunity. He provided with precious insight, and
took over the mixing and mastering of the album.
With hindsight, I’m convinced all these hurdles gave us
the time to gather the needed maturity and skills to make
“Seeds from the void” what it is today.
being active for many years, the band has a limited number
of releases. Why’s
It has been a very long, complicated and enriching ride as I
stated above. The good side of it is we’ve already got
enough songs for another album and a half. And this time,
we’re gonna record our stuff ourselves...
Managing to get a complete lineup has always been a
challenge, and has been a contributing factor for our lack
of production, somehow. Speaking of which, we take this
opportunity to introduce our two newest members: Guillaume
Daedalean Complex member), on bass and vocals, and Guillaume
Lafleur Laplante (Endless Rebirth), on drums.
Your full-length debut record (“Seeds From The Void”)
was released more than a year ago. Now that time has passed
and the thoughts have matured, are you satisfied by the
outcome? Would you change anything if you had the chance to
Personally, I have mixed feelings. I am mostly satisfied
though but I think the unfavourable context, all the
difficulties and our lack of experience shows a little bit
on this version of the album. I willingly write “this
version” because we expect to rework “Seeds” after the
release of our next album. We’ll see after we’ve gained
some experience recoding everything ourselves for the next
album. We could honestly be tempted to re-record
all guitars and bass of the entire album.
you have a ‘mission’ and goal ready when you first
started out, or did the music and direction first take shape
as you crafted songs and so forth?
Personally, one of my main objectives is to write songs as
melodic, dark and brutal as we can, all at once. Okay, we
can’t always go “all in” but my favourite songs are
usually those that combine the best all these elements. I
won’t speak for David but I think he completely agrees.
It’s up to you to tell us if it works.
songs come by themselves, it’s hard to describe. Often, it
feels like they have their own soul. We always start with a
few guitar riffs (except Ison whose lead bass riffs have
been written by René Laforge, a lifelong friend of mine)
but the rest usually “falls by itself”. Even studio
mistakes are sometimes very good “ideas”.
Do you think black metal has a spirit, or a set of values to
it? Where do you think this came from? Are there any
To me it clearly has a spirit. It’s the pure expression of
everything we have in ourselves that’s hurt, tortured and
misunderstood. It’s also very passionate, rebel and free
in many ways. I find it liberating and empowering. My father
can’t understand I guess.
We don’t try to follow any cultural trends about black
metal. It’s a strong part of our musical influences and
the ambiance generated by a dark music fits our purposes
perfectly. Personally, I approach this as a painting, you
start with the “canevas” and we add layers. Often the
song itself leads us elsewhere. I like calling this a
The lyrics seem quite important for the band and your
expression, how do you look upon the importance of the
Yes they are. Our lyrics are usually personal, social and
often spiritual. It comes naturally, we’re not trying to
“give ourselves a style”. Our new bassist, Guillaume
Roberge, is expected to contribute a lot. He’s got a lot
of great unused ideas and song lyrics that fit very well
with the spirit of the band.
Roberge: Yes, looking forward to see what we come up with! I
believe lyrics shouldn’t be an afterthought in the process
of musical expression. It is after all a form of dark
poetry, where each word has the power to inspire or evoke.
When I discover a new song or artist, I pay close attention
to their texts to see if there is some depth, intensity,
aesthetic that appeals to me. There are often hidden wisdom
in some metal texts. If the music is already great, it will
elevate the song to another level. Where words and meaning
seem amplified, mantras or ideas expressed powerfully. I
think of bands like Gojira that blend massive riffs and
thoughtful texts. Of course, not all songs need to be
philosophical or existential in nature to be effective. But
if I am to sing or yell something over extreme music, it
should be something I can pour intensity, passion and
R. is an all-around gifted musician. After exchanging about
a little about where we were already heading, he got the
picture right away and already started challenging our ideas
to make it even better. We are extremely happy to have a
third voice in all of this as Guillaume T. and I worked
closely for the lyrics on “Seeds” and it went very well,
but we feel that having a third person in the mix would give
much more depth to the lyrics and bring us in new
And what about inspiration outside of black metal and music
in general? What else fuels your inspiration? What kind of
art do you enjoy in your spare time? Literature,
Outside of metal, I’m inspired a lot by old school
classical music (and NES soundtracks…). I also listen to
almost anything but rap and country music. I read a lot of
stuff but I’m not very fond of literature and unrelated
arts in general.
What rules and canons do you follow when writing music? How
much is this process free and artistic?
As I wrote earlier, we often try to go as melodic, dark and
brutal as we can. Aside from this, we have no rules. We do
as we like, we are our best fans and I think it’s very
important. Music has much more soul when you do what you
like than when you try to please others.
Your music sounds complex, I guess it took quite some time
to build everything! Tell us more about it!
Most of our songs are written as two or three different
“blocks”. It may take a few days or weeks but some songs
(especially those on the next album) have been written over
a ten-year span. Sometimes, you write the first part in 2002
and you finish the song in 2016. Contrary to many bands, we
do not write by jamming. Most of the riffs of our songs are
written by a lone guy in his bedroom/basement and yeah, it
may sometimes take a lot of time to find the inspiration to
finish a song.
What’s your view on the value of music today? In what way
does the abundance of music change our perception of it?
The “liberalization” of music has a lot to do with us
recording albums so I won’t down talk it. It’s nice that
everyone has its chance. It’s up to the public to choose
what it likes. Bad music will die by itself.
: It does change the perception of value quite drastically.
At least dilute it a lot with generic and uninspired music,
but it makes finding the one that resonates with you much
more satisfying. However I believe the widespread
availability of recorded music devalued the perceived worth
of live performances. There is something special you can
only feel live with both musicians and audiences sharing a
space, synchronized rhythms and harmony weaving emotional
tension and releases. It is both invigorating and soothing
to me and many others who attend or perform extreme music.
It can be rather therapeutic when it is authentic and you
If we had to classify you in a certain genre, would you say
that you are a Black / thrash Metal band? Do you agree
with this characterization? Who composes the music of the
tracks and what bands do you consider having a significant
effect on your sound?
One of the critiques of our first album labelled it
“blackened trash” and I like it a lot. Our next album is
more into “melodic thrashy black” so I guess that
“melodic black thrash” maybe a nice broad label. My
strongest inspirations, aside from classical music, are old
school thrash (Metallica, Megadeth, Slayer), melodic death
(Death, At the Gates) and all kinds of dark stuff David
could have made me listen to (like Burzum and early Cradle
write most of the music but I have to admit that without
David’s inspiration and support, I wouldn’t have been
able to write as I do today. The lyrics and the spirit of
the band are much more of a team work. It’s not a project
any of us could achieve alone.
In fact, “Chapter Zero” will be the first album on which
I am officially contributing to the music. Some riffs go
back to 1997, before meeting Guillaume, and came from my old
black metal project. We both agreed that these contributions
would come in later. You can’t really feel it from
“Seeds from the Void” but my roots are deep into the
Norwegian scene from the early 90s. Old Darkthrone,
Immortal, Emperor, Burzum and all those bands that made
black metal what it is today.
Could you give us a little insight into the metal scene in
Quebec? Are there many bands that play metal, and especially
black metal? And how are gig-possibilities et cetera?
Yes there is but we’re not part of it as we never play
live. Quebec City has a very vibrant metal scene with bands
like Neurasthene, Haeres, Aborgnon (black), Ancestors
Revenge (melodic death), and as I stated earlier, Daedalean
Complex (industrial metal) and many others.
The black metal scene in the Quebec province is still
present but not at the apex it once was a couple years ago
when it could fill bigger venues from amateur local acts.
Music comes in waves and right now Black Metal is back to
the underground where it still thrives. It is less prominent
now, but still felt in the inspiration of many musicians
performing other genres. In Quebec City, you have to seek it
to find it, often in smaller venues, gigs put together by
bands. There are also labels such as Sepulchral Productions
that host a popular festival called Messe des Morts in
Montreal. Gigs are certainly possible in the local talent if
they are willing to mesh together since there’s a lot of
great extreme metal bands in Quebec. Most of the bands that
were tied to the Metal Noir Quebecois scene draw inspiration
from folklore, traditions, culture identity and patriotism.
Some notable bands to look into: Monarque, Forteresse,
Csejthe, Chasse-Gallerie, Gris, Neige et Noirceur, Utlagr.
you for taking the time to speak to The Pain Fucktory. Do
you have any final words, or anything you would like to add?
Yeah. Speaking for myself, it’s as funny as it’s
appreciated to write an interview without even having put a
single foot on a live stage. We’ve got a lot of stuff left
to record so we hope at least one of our next songs ends up
in a future compilation. As weird as it may sound, I wish
you enjoy listening to our metal as much as we do.