This past year, a raging forest fire swept through Northern Saskatchewan, nearly wiping out the place The Besnard Lakes call their refuge; a trailer in the woods the Canadian indie rock band has built their long-standing artistic foundation on.

Every summer, husband and wife duo, Jace Lasek and Olga Goreas, visit the lakeside, soaking in inspiration for their new music. But his time, their blazing surroundings offered something else, something urgency-fueled and symbolically sacred, for the rockers to grasp a hold. With a layered energy creatively captured on their forthcoming album, A Coliseum Complex Museum is set for delivery two years following its predecessor.

Paranormal sigils, occult symbols and cryptozoological creatures intertwine with natural elements to create an expansive sound that frontman Jace calls "the Steppenwolf entrance-way For Madmen Only." During a rainy day in London, with the album now complete, he details the textured and intriguing A Coliseum Complex Museum, which arrives January 22.

I know there's been some changes to the band since the last album. How has the band dynamic evolved creatively leading up to this new album?

It's worked out really good. Rich, our other guitar player, realized that he wasn't going to tour with us anymore. He's now mastering in my studio and we've remained really good friends and he's still an active member of the band, he just doesn't tour with us, so we have Sheena and Robbie now, who are also a couple. They're the ones who are touring with us now. But, everybody helped on the record and it made it so much more of a dynamic sounding album, because we have so many other people and minds to mine.

So there's a couple of couples on tour. It's a big love-fest.

Yes, it is. Yep.

I want to get into talking about the album. The natural world and the paranormal intermingle offering inspiration on this next album, A Coliseum Complex Museum. How are these two easily married this time during your trip to the lakes?

We're using these sigils that my wife has been making and they're these beautiful symbols that she's made to sort of attempt to conjure a better world. She's trying to send out good thoughts to people and have everybody sort of absorb them. And in that sense, that's kind of a paranormal and spiritual thing. We're not really the most spiritual people in the world, but we do really love the idea of ghosts, the unknown and receiving radio signals from elsewhere, from outer space.

And the sigil idea was all triggered in contrast to the natural world when you went to the lakes and there was a forest fire.

Yeah, last year crazy. We actually felt kind of bad, because the third record that we made, Roaring Night, actually has an image of fire burning off in the distance with an image of water on the front of it. We almost felt like we kind of caused it in a weird way. Up at Besnard Lake, we actually have a cabin up there, like a little trailer, that we keep all year round. The fire was actually about three kilometers from the camp site. It was pretty close to destroying the place that we care most about. It was pretty scary.

That terrifying. Your band's name and the entire mythology behind it is based on that area, so that would be scary to think you would lose it.

It was pretty crazy. By that time, we had almost finished the album but there's some pretty amazing imagery that we received when we were up there of cabins burning, surrounding by burnt trees. There's some crazy video footage of people filming the fire from the water and it's a giant wall of fire. They are pretty powerful images, especially since it's something that hits so close to home. You can't help but absorb it and let it affect you.

These sigils that you were describing a little earlier, what was that process like of creating them and implementing them into the album?

My wife saw this Ted-Talk, or maybe it was a disinformation lecture, this guy Grant Morrison was talking about the idea of sigils and he was saying that they work. If you put them to use and you use them every day, they work. He's also a really amazing drug addict, so you can kind of take what he says with a grain of salt. She decided she was going to try it just for fun, just to see if it was something that we could do but being pretty skeptical about it at the same time. She started doing these sigils and there's a method to doing it. You write down the sentence that you want to say and you take out all the vowels and then you take out all the consonants that double and you end up with these letters and you make a symbol out of the remaining letters. She did this and she ended up with twelve of these things that are basically nice mantras and started looking at them every day. Then when we were making this album, I don't even remember how it came up, but we decided it would be cool to integrate these things into the concept of the album. In a sense, it's kind of been something that's reoccurring. Led Zeppelin had symbols on ZOSO. So we thought it was sort of in keeping with the rock and roll legacy, to integrate these symbols. It was tough to get her to agree to it, because they were really personal things for her, but after we talked about it, we realized that if people could see them and use them as well, if there is any truth to this other worldly numerology, maybe we're doing a good thing.

With your last album, I was reading an interview where you stated, "When we get into the studio, we're lucky to even have ideas. We go in pretty blindly and hope that the studio helps us create what we need to create." Although you had all these inspirations conceptually for the project, how did things come together sonically when it was time to record?

I think it was the easiest record that we've ever made. I was producing a band about a year-and-a-half ago and he was talking about his creative process and I was talking about the lack of my creative process. He said what he does is, every day, he turns on his computer and he looks at his songs, whether he wants to do anything with them or not. He just goes and listens to them. I thought that was a really cool idea and I'd never really thought of it like that. It's a dedicated way of doing things. I used that. Every time I had a spare moment, I would go and sit. For the first time, pretty much since Dark Horse, ideas were coming like crazy. I was just putting them all down. I would go back and sit with them. When we came into the studio, I had tons of ideas and it made the studio experience a lot more fun, because we weren't frustrated. Then, we could just use the studio for deeper things like textures, because we already knew what we wanted for the sound of each song.

'Golden Lion,' there's more of a sunnier pop-infusion than past work. Where did that warmth come from, considering your last album was broodier?

The last record was more tough for us, because a lot of was about the death of Olga's dad. It was a very introspective album for us. It was really tough to make. I almost feel like this album is like a lifting. We were kind of feeling like it was time to make a rock song again.

Going off of the name, the title of the single, the album is populated with cryptozoological creatures like the lion. How much studying and research went into pulling these symbols to make sure things were accurately represented?

Lyrics just sort of come to us. We don't consciously have these things thought out in our mind. When we came up with the name of the album, A Coliseum Complex Museum, I always saw it as the Steppenwolf entrance-way 'For Madmen Only' into this strange world where you're met with half man-half horse creature. It's this strange place that you've entered.

With ideas that are so complex and even coded, how does the band best connect with your fan-base, for those who don't always fully grasp the dynamics of your concepts?

Especially with this album, I think that we're just trying to be honest. The whole idea having many layers of texture is for that purpose, to allow the fans to absorb it on layer that they want. You can either just listen to it as a record or you can go deeper. The more you listen to it, the more you're going to pull out of it. When I was a kid, all the records that really touched me were the ones where it was upon the third or fourth to the tenth listen, there were still things that were happening that were coming out, where I was like, "Oh, I get that now. This is a reference to this. I never knew that before." But that's something that you need to have in your mind in order to enjoy the music. It's there if the desire is there.

With such a successfully dense discography and long-running career, what does this album represent for you?

We had a lot of fun making this record and it's the first time that we kind of felt like we came together. It was effortless. Everything we did felt really strong. Also, for the first time ever, we came out of the studio with like 13 songs, where in the past, we would make a record and have no songs left over at all. This one, there was so much creativity flowing that we actually had extra shit to give. That's why there's an EP out now and there's going to be the album, and there's still more stuff down the road that we can release as well.

A Coliseum Complex Museum is out on January 22nd, 2016 via Jagjaguwar.