“This isn’t a ‘first listen’ record,” says Chimaira frontman Mark Hunter. “People are going to listen and say, ‘This is interesting. I need to hear it again.’ By the third time they listen, they will go, ‘Whoa, I ‘get’ it.’”
‘Chimaira’ is Chimaira; from the opening note of the brain damagingly heavy “Nothing Remains,” which Hunter reveals was written the day Dimebag Darrell was murdered. “The song has nothing to do with the situation, but musically, it’s brutal and anger-filled and the shooting brought out the feelings.” The album is multi-layered, expansive, intelligent metal, affirming Chimaira’s progression into one of modern metal’s landmark outfits. The heavy breakdown on “Save Ourselves”, the enormous chorus on the melodic “Salvation” and the dynamic mindfuck of ‘Lazarus’, the album’s closer, all illustrate the point. ‘Lazarus’ is “…not about the biblical character, but a friend who committed suicide 11 years ago. It’s the most personal song I’ve ever written and I got it out of my system,” Hunter says, admitting he envisions kids listening to the song on headphones, to fully absorb it. Hunter continues, stating, “The lyrics (on the album) are really personal and fans looking for a ‘fuck you,’ or a ‘Power Trip’-type song will be disappointed. This is more thought-out, more realistic. I thought it was time to be upfront in my lyrics and strip away the ambiguity.”
When the band commenced writing, they were coming off a marathon, two-year road trek in support of breakthrough album, ‘The Impossibility Of Reason’, clocking 330 shows in 21 countries. “We were eager to write new material,” says Hunter. “While touring, we didn’t think there would be pressure. We thought it would be a breeze but when we sat down to do it, we were like deer in the headlights. It took a month of toying with ideas.”
On ‘Chimaira’, the band refused to write songs that fit any stylistic format. “We were trying to not have restraints. If it was a 1½-minute song or a 15-minute song, as long as we were happy, that’s all that mattered. The songs are as long as necessary, in order to get the point across.” The solos ripped out by guitarist Rob Arnold are unlike any on previous albums and Chris Spicuzza’s ambient/electronic element has added an extra, yet crucial layer to their sound. Hunter says, “Chris took epic parts and made them more epic. You’ll ask yourself, ‘Why does this sound so big?’ That’s our trick!” New drummer Kevin Talley is more of a brutal, in your face live drummer and Talley’s intensity is omnipresent on the recorded album as much as it is on stage. “You can’t deny that the drums are ripping your head off. These sound ferocious,” Hunter says.
The addition of Talley and Chimaira’s progression as individuals and a band are what give Chimaira its fresh, invigorated feel. “Everyone put their two cents in,” Hunter explains. “Everyone contributed their flavor and style. So, it’s truly a Chimaira record. We’re like the three-headed beast; we’re disagreeing animals forming into one monster.” And what a monster it is.
