With “Black Soul Sickness,” Montréal’s Progressive Rock powerhouse Karcius returns with a work that feels both deeply introspective and expansively Cinematic. As the final chapter of a trilogy that began with “The Fold” and “Grey White Silver Yellow & Gold,” the new album captures a band operating at a rare intersection of emotional vulnerability, technical precision, and narrative depth.
Looking back at your journey from “The Fold” to “Black Soul Sickness,” how do you feel Karcius has evolved both musically and conceptually across this trilogy?
Sylvain:
I think our musical evolution has been natural and constant, without forcing anything. One of the advantages of being independent is having control over deadlines, so we’ve allowed our sonic identity to develop through research, exploration, investment, and genuine passion. Looking back at the three albums now that the trilogy is complete, one thing that stands out is how much heavier our sound has become. Conceptually, the pandemic and the ongoing mental health crisis have played a significant role in shaping the themes. Depression, isolation, lack of empathy, individualism, and greed are all forces the protagonist must confront, explore, and ultimately try to resolve.
“Black Soul Sickness” is described as “Part III” of a larger narrative. At what point did you realize this material belonged to a trilogy rather than a standalone album?
Sylvain:
There’s definitely a broader emotional and sonic narrative connecting the last three albums. Some of these themes were already surfacing as far back as The First Day. The idea of a trilogy became a conscious decision near the end of writing The Fold, when Simon and I started discussing what would come next for the main character, Ian Chains. On the inner sleeve of The Fold, there are short introductory passages before each song that hint at the protagonist’s emotional journey. We realized the story wasn’t complete by the end of that album, which led us to intentionally extend it into Grey White Silver Yellow & Gold. Another narrative passage appears before “The Ladder” on that record. The darker themes explored throughout—death, depression, trauma, and personal reckoning—ultimately find their resolution on Black Soul Sickness.
The album confronts themes such as loss, obsession, and rebirth. Was there a specific emotional or life context that shaped the writing of this record?
Sylvain:
I do draw from personal experiences to shape the conceptual stories in our lyrics, but going into specifics would take away from the listener’s ability to interpret the music in their own way. We’re all complex and unique, navigating our own version of this life. Consciously or not, I believe we’re all doing the best we can with what we’ve been given. We all face loss, wrestle with obsession, and hopefully reach a point of acceptance that allows some form of rebirth.
Sonically, the album moves between immense, cinematic moments and near silence. How important was contrast and space in shaping its emotional impact?
Simon:
It was always something I have in mind. Karcius is very dynamic band and I love using that in my composition. We can go from smooth acoustic guitar to screaming distortion in a second. That’s hard to do well but very satisfying from a composer point of view. I compose fior TV shows and film also, it’s a biug part of my day to day life so I experiment a lot in Karcius and use it in my work all the time. This band a massive laboratory for me, no boundaries and lot’s of possibilities.
The record blends modern Progressive Rock, Metal intensity, and Post‑Rock atmosphere. How conscious are those genre balances during the writing process ?
Simon:
I don’t think the blend or the end result is very conscious. Although I think we are the sum of what we listen to and I always need to find a tone for the record before getting into the composition process. I’ve always worked like that. Imagining the tone and sounds and then start composing. I need to have the tools in front of me to shape the soundscapes and then I get in the specifics of each songs. I am inspired a lot by records, films and series I watch and listen to, this goes in my subconscious and then I blend ideas and sounds. It’s always evolving anyway with the band, everybody is bringing food to the table in terms of tones.
“Black Soul Sickness” was entirely self‑produced and mixed by Simon L’Espérance. What freedoms—and challenges—come with keeping the entire creative process in‑house ?
Simon:
I get inspired by Steven Wilson for that a lot. He does that all the time. I mix and produce a lot of records so basically I can refer to my setup as good point of reference for producing and mixing. It’s hard to compose and mix but this is so personal that I really have a clear vision of where the songs could and should sound. It’s a matter of balance and time. There is so many good records out there that when I need a step back there is a lot of stuff to listen and compare. The demos are very near the end result also so we tend to use stuff from them and rely on the overall mood. For me the challenge is to not get bored by listening to the same songs for too long. I am really hard on myself when composing, producing and mixing so I put the bar very high and try to achieve it with the help of my bandmates. They know their stuff and they are also sound engineers, so there is no way we gonna leave something not sounding good or having some issues. Also it’s such a pleasure to experiment and create sounds, for me producing is such a big part of composing, I cannot let this part go to someone else than me and the band.
Compared to “Grey White Silver Yellow & Gold,” which received wide international acclaim, did the band feel any pressure going into the writing of this album ?
Simon:
Not at all, the pressure comes from us all the time. We just want to do the music we love to play and enjoy the process the best we can.
Many listeners describe Karcius as balancing technical mastery with heartfelt expression. How do you prevent complexity from overshadowing emotional authenticity?
Thomas:
We will always prioritize emotion over technique. In my opinion, too much music these days is made with the goal of dazzling or impressing, but ends up feeling cold. With the technological tools we have now, many people can claim to play complex music. Emotion, on the other hand, is difficult to create with a computer—it’s human. Above all, we aim to move people, to make them experience strong emotions.
The album feels deeply introspective, almost psychological. Do you see it as an invitation for listeners to reflect inward, rather than offering escapism?
Sylvain:
I think it comes down to free will. The listener brings their own state of mind to the experience, and the music meets them there. However they connect with it is entirely up to them.
Can you tell us about the dynamic between vocals, lyrics, and instrumentation on this record—how did the band shape the emotional narrative collectively?
With Karcius, the process usually starts with Simon bringing in a song that’s already quite developed. His cinematic approach and the atmosphere he creates naturally guide where my vocal melodies and lyrics will go. Once I’ve completed my parts, we present the material to Thomas and Sébastien. From there, we rehearse the songs as a band and then record them live in the studio. That collective process is what brings the emotional narrative to life.
Karcius has a reputation for electrifying live performances. How do you envision translating the atmosphere of “Black Soul Sickness” to the stage?
Sylvain:
We’re incredibly excited to finally share the new album live on May 8th in Montreal. When it comes to performing, we adapt where needed—arrangements can evolve, and there’s always room for improvisation and spontaneity. That’s what keeps things unpredictable and alive on stage. We approach every show as if it could be the last. It’s a privilege—and a real thrill—to share this music with an audience.
Are there plans to bring this material on tour in support of the album, either in North America or Europe?
Thomas:
For a North American band, traveling to Europe to play music is becoming increasingly expensive, so it’s not always easy. We are planning a return to Europe in 2027. We have a few plans, but we can’t talk about them just yet.
Having performed across Europe and North America, how have different audiences responded to Karcius’ darker, more cinematic side ?
Thomas:
Our albums are getting darker and more somber, and we feel they are being received better and better. The audience here in Quebec reminds me of European audiences—very in touch with their emotions and very attentive. We have always had more success in Europe than in the United States and in the rest of Canada outside Quebec.
Your live Blu‑ray from Festival Crescendo and headline performances like Progstorm Montréal marked important milestones. How have those experiences shaped the band’s confidence today?
Thomas:
Karcius has always existed for a very specific reason: to make music without compromise. Despite having a niche style, we continue to gain more and more fans around the world. Performing at major festivals, of course, helps us expand our audience. It makes us increasingly confident about the future.
Montreal has a strong and eclectic Prog scene. How does your local environment influence the music you create as Karcius?
Thomas:
Karcius has always been influenced by everything it listens to. The Montreal scene is no exception—it has many great bands, and not only in progressive music; there is a lot of excellent music being made in Quebec. I imagine this is due to our uniqueness: a Francophone stronghold in North America.
Simon:
We might want to dress like Angine de Poitrine soon hahahaha!
After more than two decades of evolution, what still excites you most about being part of the Progressive Rock scene today?
Thomas:
What excites us most is that in this style of music, there are no limits, no ceiling. The only limits are the ones you impose on yourself. We want to keep exploring, trying new things until we can no longer play our instruments.
Looking at the current state of modern Progressive Rock, where do you feel Karcius fits within the broader global scene?
Simon:
I don’t really know, it’s aquestion for reviewers and critics. I always taught we were too heavy for classic prog lovers and too smooth for prog metal lovers. Also I am very influenced by the grunge era and It’s something we don’t ear a lot in prog. I don’t control how we fit in the scene, bu8t we give a hell of good show that I’m sure of it. We love groove, we love riffs, we love emotions and we play loud ! Whatever works in terms of genres, it doesn’t matter.
Now that the trilogy reaches its conclusion with “Black Soul Sickness,” does this feel like an ending—or the beginning of something new for Karcius?
Sylvain:
I am searching for new colors to explore and I am eager to start composing for the next one. We’ll see where it goes but we don’t corner ourselves in terms of concepts or sounds, so we will continue to dig and harvest some new sounds.
With “Black Soul Sickness,” Karcius closes a powerful chapter while simultaneously opening new emotional and sonic pathways. It stands as a testament to a band unafraid to confront darkness in pursuit of truth—using sound not just as expression, but as healing.
Simon:
That’s a huge statement thanks ! I love that the response for the album is emotions. Nobody is closing the album without feeling something inside. That’s the best gift of all. There is so much technical music around here and stuff where people hides behind their capabilities. We don’t love to get this comeback. Music is the therapy you ca find, even if the story is not exacltly ours it’s a mix of personnal stuff and a way to understand a part of our mind, even the world around us. The key is to create and live it but the real goal if for listenners to be able to connect and relate. If it works we’re at the good spot.
Thanks for the amazing interview. Great chat and deep questions! I love it! Prog on!
Pre-Order/Pre-Save “Black Soul Sickness” here: Bandcamp | Streaming Platforms
Lineup:
Simon L’Espérance / Guitars, Synths, Percussions, Keyboards & Loops Programming
Sylvain Auclair / Vocals, Bass & Words
Thomas Brodeur / Drums, Pecussion & Sound Design
Sébastien Cloutier / Piano, B3, Wurlitzer, Synths, Mellotrons, Additional Keyboards