Review: “Chimaira” by Stone Horns

“We’re all chasing a chimera, but isn’t it the chimera that’s chasing us? That’s the question this album tries to answer, combining freshness and warmth, violence and peace, waves, and digressions. There’s something for every metal taste and color. The aim of this album is for fans of every sub-genre of metal to be able to say to themselves at some point when listening to it: “I really like that beat”. “Chimaira” is a bit like the child of “The Beast Inside” (2018) and “Rise of Apophis” (2021)”” ~ Stone Horns

It may have been three years since the last full length confession of Marseille France Groove Death beasts Stone Horns but over the past twelve months the band have waterfall released a trio of singles from their third album “Chimaira” alongside a standalone cover of “L’odeur de L’essence” by OrelSan to keep the embers smouldering. A completely DIY or DIE affair, the album finds lead guitarist Antoine Roszak (Aquarius, Knyll, StillWeaked) in the mixing and mastering seat having co-produced with vocalist and bassist  David “Devf” Viard (ex-Four-O-Five Code, Dead Sheep) who also created the artwork. The group is rounded out by drummer Maël Taguelmint (Horned, ex-Manea) and axe wielding duo Mathis Lakermance and Damien Servais so it’s probably safe to say that a mountain of strings were used in the writing and recording.

A concept record exploring being rejected by all and thirsting for revenge, “Chimaira” traces life’s thirst for recognition, whatever its form. Through its various acts, the story continues in different states, colours, and landscapes with a raw, merciless finality that leaves little room for breath in this torment of violence. The first cut is the deepest with “Grasping the Embers of Exile” a magnum opus of a track that approaches eight minutes on the dark side, a gracious build up leading to an inevitable explosion into Extreme Metal with flavours of “Unto The Locust” era Machine Head. That sentiment is echoed in the vocal performance from Viard during some of the groovier moments, the chunky riffage enhanced by a whirlwind of percussive battery. An extended solo from Roszak in the final third is a masterwork and the band cleverly balance moments of Melodic Death Metal orientated melody with Scandinavian roots with crunchy American Groove Metal inspirations. It has to be said that despite the record being a DIY affair there is no compromise in quality, the album having a polished feel and a solid mix.

Menacing and sinister, “No Mercy” rises from the blue lagoon like a beast from the black depths with Viard offering up some “Black” era Metallica inspired vocal lines before the guitars race away at breakneck speed and the savage uncleans come into play. The tempos shifts are well balanced, like the shifting Sahara desert sands in the wind and it won’t be long before you find yourself screaming along. A couple of dirge laden riffs lead into a powerhouse downtempo finale that is the absolute Chef’s Kiss, a glorious gut punch which is going to go down a storm in the live arena. Pushing his vocal boundaries, Viard gives “Terra Genesis” his all and displays his full range of capabilities like peacock showing its plume. From the fleeting spoken word to the sung chorus, where this one really comes into its own is the deeper, darker death growls that give the song an extra weight and gravity. The riffs are satisfyingly heavy so the verses pack a real punch and if you didn’t know you might swear this was a demo from a Roadrunner Records signed band from the early 2000s. The lyrical title track is the one that splits the album clean in half like a hatchet buried in a skull and “Age of Chimairas” certainly doesn’t disappoint. Building on the solid foundations of the first half off the record this one finds Taguelmint playing with some almost tribal fills during the verse movements before Roszak pulls out a tasteful solo in the second half. Another bold and blistering grand finale raises the temperature dramatically, the band absolutely nailing those throughout.

Blast beats and a brutal elongated roar open up “Chrysalis” like an artery under a blade before a schizophrenic vocal display from Viard astounds during the opening verse. It’s like he’s gone feral before pulling it back for a chorus, the spiralling down tuned riffs reaching stompy heights in between times. The solo may not be as scalding as you might hope but it still works incredibly well in the context. A bone rattling cut “In the Clutches of the Abyss” is another lethal dose of unadulterated French hatred, the introspective lyrical narrative being something to which everyone can relate. An instrumental drop out for an acapella vocal part is a little strange but something that grows on you like a barnacle over multiple listens and the way the band tear back into the music for the final verse and chorus is nothing short of incredible. Swirling guitars that bleed dark atmosphere are accompanied by a bouncy bassline as “Echoes of a Fallen Empire” takes hold in soul stirring fashion, a fitting conclusion to an album that has many stand out performances. Perhaps the bands insistence on having a catchy chorus in each track is a double edged sword but on this one it has the necessary dark quality to bring this one home in style [8/10]

Track Listing

1. Grasping the Embers of Exile
2. No Mercy
3. Terra Genesis
4. Age of Chimairas
5. Chrysalis
6. In the Clutches of the Abyss
7. Echoes of a Fallen Empire

“Chimaira” by Stone Horns is out 26th January 2024 via Rockshots Records