Interview - PREGHIERA - 2025 (ENG)

Talking about friends matters.

The mutual support that can be built through healthy cooperation is a precious substance — a rare something that should never be wasted. Behind Preghiera actually stands Léa, from the fanzine Malédictions, which she runs together with her compatriots Cämille and Quentin, and in which I was fortunate enough to be interviewed.

But not content with her activities in the world of fanzines alone, Léa is also a composer in her own right, and has recently gifted us a truly beautiful album: Lettre d’une inconnue.

An intriguing and highly subtle universe unfolds as one listens to the compositions of this accomplished artist (who also creates the photographs illustrating her works). As we are slowly approaching the end of the Jeu D’Ombre webzine, it felt important to me to take the time to speak about this project — one that is both compelling and truly unique in its kind.

- Interview conducted by Xzvrey in 2025.

Lien Bandcamp

1/ Greetings Léa! It’s been quite a while since we last crossed paths at a festival. How are you doing? What are you focusing on at the moment?

Hi Flo! First of all, thank you so much for the time you took to put this interview together, it truly means a lot to me. It took me four months to finally sit down like this and answer, because I was preparing the show at La Raymonde and it required a huge amount of time, energy and mental availability (and I think you know exactly what that feels like, hehe!). Work also takes a lot out of me, and when I get home I’m completely drained.

Now that the concert is over, I’m focusing on this interview, finishing Intelligence du rêve by Anne Dufourmantelle, At the Mountains of Madness by Lovecraft, and my job, which demands a very strong mental and emotional involvement. I’m helping Camille (Malédictions, Hardrock à mort) with the Hardrock à mort fanzine by proofreading his files, and I’m also working on collages for a zine that I hope will eventually see the light of day, Aeterna. These are collages made from things I’ve written — thoughts, notes taken from various philosophical or literary readings…

Whenever I can, I also keep moving forward, step by step, on the next and fourth issue of Malédictions. Over the past few months I’ve also been in a rather frantic phase of rediscovering death, thrash and speed metal, and it’s been doing me a lot of good. As I’m answering this interview, I’ve just finished listening to a Speedwhore album for the second time, and I’m about to put something else on. I’m smoking cigarettes and drinking chamomile tea. That’s quite a lot of things I’m trying to focus on — I hope I’ve answered the question properly…

2/ Let’s now get to the heart of the matter. Could you tell us about Preghiera, please? What kind of project is it? What is its purpose? And why did you choose this name, which means “prayer” in Italian?

Preghiera is a project I would describe as musical, visual (photography, drawings) and literary. I would say it was born around 2014, when I bought my first (and last — I still use the same one) camera. It emerged from an inner call toward the contemplation of emptiness and absence, which deeply marked and invaded me, paradoxically. I felt the need to fill that void.

The musical aspect came years later, in 2021, when I had completed my learning process with digital keyboards and VSTs. Always with this initially unconscious desire to free myself from a void that clung to my skin and my everyday life. The name “prayer” therefore comes from this absence, from this experienced emptiness: prayer is not only what remains when we have nothing left, it also always echoes something that is not there, and from which we await a sign.

3/ You carry out this musical project entirely on your own, in complete autonomy. How do you organise your working sessions? What instruments do you use?

When I am immersed in Preghiera, I put myself in darkness or in dim light, so that my senses are not overwhelmed. I often light incense, and I play whatever comes to me. I use a keyboard, and now I’m also going to try with electric guitar, now that I’ve found good solutions to record it properly in my DAW (Studio One 7). My favourite VST / plug-in is Korg’s Triton — I’ve used it in every possible way and I still want to keep using it… I feel like it’s something that fell from the sky and suits me perfectly. There is also Mysteria now, which I like a lot, and thanks to your advice I can better flourish in the way I approach this VST.

4/ You have released several singles on Bandcamp and you now have a full album bringing together a large part of your work in your hands. When do you plan to release this record? Are you considering a CD or LP edition?

Months have gone by, and now I have released an LP entitled Lettre d’une inconnue, which brings together the tracks I created between 2021 and 2024 that I like the most. I was delighted that you handled the mastering work! And also that Shaxul took care of the layout.

5/ What are your sources of inspiration when it comes to Preghiera? What message do you wish to convey through your compositions, your sounds, and even your titles?

My sources of inspiration are literature, philosophy, music, and that nothingness — that emptiness once again — which continues to follow me. Like a stripping away of the self, which I suppose can also be felt through my music. It took me a long time to carry this entire process of composition and acceptance through to the end, because it means acknowledging the stripping away that has occurred within oneself, and then outside of oneself. I lived it badly for a long time, because I compared my technical skills to those of other musicians and their compositions, which were far more elaborate.

The “problem” (or not, right?) is that when I play and when a piece is born, it happens over one to three days. I don’t like betraying the emotion I had at that moment by coming back to it later… I feel like I’m betraying myself when I do, and I can no longer manage to do anything because the emotion that passed through me during those one, two or three days is gone. That is the experience I have with Preghiera… and which I naturally wish to make others feel as well: the emptiness and the light that can emerge from it, the present moment, the acceptance of what is — I believe.

6/ Now that your compilation is ready to be released, has this made you want to create new pieces? How do you envision the future of Preghiera? Do you already have themes in mind for your upcoming compositions?

Yes, I very much want to saturate all of this with guitar, to give what I compose something much more drone, doom or black. I envision the future with ideas of collaborations on certain tracks with other artists. As for themes, I don’t really know yet, but now that I’ve given a pastel colour to all the emptiness I sometimes feel — and which I especially felt in the past — I’m rolling up my sleeves and sensing that the darkness of anger now wants to be expressed. I’m telling you this now because it’s what I’ve been feeling for months, but maybe that can change — we’ll see.

7/ How does it work when you tell yourself “OK, I’m going to compose”? How do you organise your work? What gear and software do you use? Do you have a specific method or ritual?

When I want to compose, I try not to put any pressure on myself — none at all, really. I let whatever needs to be expressed come through. As I said earlier, my recording sessions for a track never exceed three days. My DAW is Studio One 7, as mentioned. I like it a lot; I learned with version 5, and I really appreciate its simple and fluid approach. My favourite VST / plug-in is Korg’s Triton — I’ve used it in every possible way and I still want to keep using it… I feel like it’s something that fell from the sky and suits me perfectly. There is also Mysteria now, which I like a lot, and thanks to your advice I can better flourish in the way I approach this VST.

8/ Do you consider performing live one day? How could that take shape? What form could Preghiera take in a concert situation?

Romain from La Raymonde venue (the successor to the former Raymond Bar) in Clermont-Ferrand offered me a show on November 15th, 2025. I played a 32-minute set, partly improvised, because during rehearsals I realised that for Preghiera, I really didn’t like the idea of anticipation and calculation. Obviously, some structure is necessary for a live performance, but I worked on the main skeleton for months, in order to then allow what needed to happen to arise at the moment of the concert itself. With my emotions at that time… with my fears, of course, at that moment… with the atmosphere in the room.

The lighting was handled by Maël, who did something very beautiful, with ultraviolet, dark blue, fleeting brighter lights crossing the room and, at my request, lighting up the audience, because they were the reason for being there at that moment. It was an introspective moment for me, but also one I wanted to share with them, by including samples of Dalida, Albert Camus… which I think may have resonated, perhaps, with each person present. A contemplative moment as well, with a scenography inspired by Abysmal Grief, but in an eco+ version due to lack of means. I’m giving you a photo to illustrate this.

9/ The visuals for your various singles are always very beautiful. Do you use photographs of your own creation? If so, what is your relationship with the art of photography?

Thank you for your kind words and for this question. Yes, photography has been a serious part of my life since 2014; it is also an integral part of Preghiera in its silent and contemplative approach to life. I always think very visually when I make music, and likewise when I take photographs — I often listen to music at the same time, or the idea for a photograph is born from what a piece of music or a musical project makes me feel…

10/ It’s time to relax a bit before starting the second half of the interview. Has something completely amusing ever happened to you in relation to Preghiera?

Hahaha, that’s a great question! I’d say the amusing thing that happened to me with Preghiera was when a guy from the middle of nowhere in the United States bought five of my singles for 35 euros… honestly, I still can’t quite believe it — it came out of nowhere… and of course it never happened again afterwards! Hahaha!

Another amusing thing, over the long term, is that many people butcher both the pronunciation and the spelling of Preghiera — I’ve had Pregéria, Preghieria… Why is it amusing to me? Because my Italian surname, which is actually quite simple, has been mispronounced since the dawn of time by three quarters of the people I’ve met! I’m cursed with this! Hahaha!

11/ Let’s talk a bit about musical tastes now. I know you’re very eclectic in what you listen to: Metal, Goth, Dark Ambient and much more. Where does this all-consuming passion for music come from? Could you name a few bands and albums that have marked you?

I think this passion comes from the fact that, as a child, I was always surrounded by music at home, and in my family in general we always listened to a lot of music. It was rare that there was ever silence in the car — there were CDs playing — or during meals, or at any other moment… That didn’t stop me from liking Lorie when I was young, but mixed in with hard rock and heavy metal like Saxon, Judas Priest, Dio, Def Leppard, Marillion… and of course, already, Slayer. I couldn’t understand why no one at school knew or talked about that music. I would understand later…

The bands that marked me are therefore naturally the ones I just mentioned. I was also deeply influenced by French singer-songwriters my parents loved, such as Renaud, Hubert-Félix Thiéfaine and Alain Bashung… and by Italian pop music as well. At the moment, I’m listening to Evilfeast and having a great time. And among the bands that have marked me the most so far, I would say Slayer, Murkrat, Celtic Frost/Triptykon, Amenra, Marillion, Lingua Ignota, Grouper…

12/ In addition to having your own musical project, you are also involved in the fanzine Malédictions, which focuses largely on the underground metal scene, while occasionally branching out into other territories. What does this additional string to your bow represent? And how are Camille and Quentin, your partners, by the way?

Malédictions was born from Camille’s disappointment with his previous fanzine experiences. And yet, I noticed he talked about it all the time. So I encouraged him to start again, and I offered to take care of the visual aspect. It also gave me confidence in what I can create through drawing or photography, and in my eyes it helped me reconcile with what people might think of my artistic side, which I had long tried to repress because I didn’t feel legitimate.

Naturally, Camille also asked me to do interviews, and I’ve done some for VII, Mütterlein, Lassolas, Sabrina Vandeplas (photographer and friend), Tom G. Warrior of Celtic Frost and related projects… I had wanted for years to write texts and/or interviews about Tom G. and his universe, and thanks to Malédictions, that was finally possible.

Camille and Quentin are doing very well; we’re slowly working on the fourth issue of Malédictions! Each of us is also busy on our own projects: Camille is preparing the Hardrock à mort fanzine, and I’m working on Aeterna fanzine! We’re fired up!

13/ You know that here we talk a lot about the post-punk and goth scenes. What is your relationship with these scenes? What does the gothic universe represent for you? Are you familiar with this culture?

Yes, I think I can say that I am familiar with it… since 2018. That year, when I was 23, I experienced a long-lasting love at first sight — one that still shines today — for post-punk and goth in general, with all its subgenres. Thanks to YouTube’s algorithm, and since I’ve been a big fan of Carpenter Brut and Perturbator since that time, I started discovering Joy Division, New Order, Lucie Cries, Message, Opéra Noir, Boy Harsher, Lebanon Hanover, Night Sins, Tr/st, Minuit Machine, Pastel Ghost, Twin Tribes, In Death It Ends, All Your Sisters, She Past Away of course, VNV Nation, Edith Nylon, Foie Gras, King Dude, Days of Sorrow, Faith and the Muse…

What has always touched me is this simultaneous sense of celebration and sadness that the gothic genre brings, in all its forms. It’s not present in every track, nor is it always a general rule, but that’s how I feel it. The right to make sad electronic music, nuanced and sad punk. Also, a genuine call to be oneself, on the dancefloor or in everyday life, because negative emotions are accepted in this musical genre. They are accepted in order to turn them into something beautiful, sometimes joyful and festive. It’s a bit like partying while all of us who dance and drink are fully aware that tomorrow is already dead — and that we should still enjoy the moment.

14/ And here we go again — I’ve forgotten what I wanted to ask you… let’s move on to the next one.

Well then, Flo, that’s quite something! Well done!!!!

15/ You are based in Auvergne. Have you always lived in this region? How are the rock, metal and goth scenes doing where you live? Are you lucky enough to attend many concerts, for example?

Yes, I’ve always lived in Auvergne. Until I was 17, I lived in the Allier department, then in Puy-de-Dôme. I moved there for my studies — and thankfully so, because around Montluçon there really isn’t much going on… Sometimes there are things at Le Guingois or Le 109, or at the Fontbouillant community centre (thanks to Ké-vin for his reports showing that things do still happen there!), but otherwise it’s pretty much dead. I struggled a lot there in my youth; the city’s atmosphere wasn’t great at all!

The wildest outings were drinking in tiny dive bars with friends, walking around the train platforms in socks at six in the morning, sneaking into the high school at night to smash bottles of Kro beer on the basketball court… or meeting the “Montluçon elite” at four in the morning and singing Italian karaoke songs with friends, like Ti Amo and Tu by Umberto Tozzi, while being scolded because I was told I shouldn’t “shout into the microphone, please”. My first moment of glory as a raw, wounded artist.

My grandfather used to go to the Diam’s club and seemed to have a great time, but nightclubs were never really my thing. In short, nothing very thrilling. In Clermont-Ferrand, however, we’re lucky to have La Raymonde above all, which programmes a lot of wonderful things. You really discover many underground projects there… This weekend, for example, OvO are playing! Minuit Machine and Sierra also played at La Coopérative de Mai. But at that time, I was at L’Homme Sauvage…

16/ I seem to remember that you are a great reader. Could you tell us about your passion for reading, please? What kinds of books do you enjoy? Do you have any recommendations?

Reading has been a great help in dealing with anxiety, just as music has been, because it allows you to focus on something other than your fears and your thoughts. Being able to read is a real blessing… especially when you don’t have much money — it becomes an even greater treasure, I think! During my periods of unemployment, I used to order books on Vinted for almost nothing, and it was delightful.

I deeply love French and Russian literature, philosophy in all its forms, especially when it is approached in a poetic way… I would recommend Cioran, Chekhov, Hell by Henri Barbusse, Antonin Artaud, Georges Bernanos (my love!!!), Louis Aragon…

17/ Tremble with mortal fear, for here comes the most diabolical question of this zine: what are your favourite dishes and drinks ???

I love this question in your zine! I absolutely adore slow-cooked dishes, like meats in sauce… minestrone soups that you can reinvent endlessly… Italian dishes with tomato sauce… and beer… and freshly squeezed orange juice…. Mmmmh…. I have a bit more difficulty with red wine, though, as I’ve had too many drunken nights involving wine in my life — enough, at least, to have taken a bit of distance from this drink, however divine it may be.

14/ That’s it, now I remember: what is your best concert memory as a spectator? Which band impressed you the most? After all, it seems you attend concerts very often?

Slayer in 2012 at La Coopérative de Mai in Clermont-Ferrand — I was 16, and that concert left a deep mark on me because it was my very first real concert… and my sister, my father and my friends were there. The band that impressed me the most remains Slayer, whom I’ve seen four times. I’ve seen so many other bands and concerts, but Slayer… that’s something else.

Yes, whenever I can, I go to La Raymonde in Clermont! Cheap tickets and beers, for high-quality concerts and musical projects (and more) — I highly recommend it! As for festivals, I’m particularly fond of Anthems of Steel and L’Homme Sauvage… and Pyrenean Warriors, to name just a few.

18/ Preghiera is a sensitive project, full of emotion. What would you like to feel one day in connection with your musical project? What would be its greatest achievement for you?

That’s a very beautiful question! Spontaneously, I would say touching people — feeling that others can be moved by what I create, musically and visually. And that did happen at La Raymonde, I believe, since someone in the audience kept saying “thank you!!” several times… Thanks to La Raymonde, and especially to Romain, for allowing me to perform.

So I’m already experiencing this sense of achievement, which does me good on a daily basis and which I accept as it comes…

19/ We are unfortunately nearing the end of this interview. Would you like to say something more to the readers of this magazine?

To the readers, I wish you a pleasant time exploring Flo’s website, which consistently features beautiful interviews where people — whether well-known or not — are able to express themselves freely. Freeing speech is extremely important, so thank you, Florent, for this wonderful interview you’ve given me. And I truly believe that we must dare — daring is so important… not locking ourselves inside our fears.

20/ Léa, thank you very much for taking the time to answer my questions. I hope we’ll have the chance to cross paths again at concerts soon (at least at the various festivals we’re used to).

Until next time 😀

Thank you, Florent, for the time you devoted to me through these thoughtful and beautiful questions. It feels good to sense that our voice can exist. All the best to you, and I look forward to seeing you again soon over a beer — or some other magical drink — in front of a concert!