Kheos is on the rise.
Formed in 2015, the band consisting of Aimane Jaone Rajaomitraha (vocals), François Hamy (lead guitar), Rémi Hamy (guitar), and Stephane Delcroix (drums) finally releases its debut album, OXYMORE.
It strongly kicks off with Immortal Warfare, the first single, where I discover the band’s modern Metalcore/Deathcore mix supported by backing vocals and keyboards, featuring Cyril (Solar Eruption) who contributes to the raw violence. Some parts are quite groovy and showcase the band’s technical prowess before the electro final leading into Wrath of Cronos, which reprises much of the same elements at a good pace, making this track a veritable weapon of mass destruction for live shows with its rhythm changes. The band follows up with Against the Gods, where the sounds darken, offering slightly less saturated vocals for the choruses, while the mosh parts are impressive, then We are Chaos offers us our first real break with a soothing keyboard intro before letting the musicians unleash themselves again. The break will surprise many, then the musicians continue with Macabre, a mysterious yet energetic track featuring Valérie Chantraine (Penumbra), who brings a more diverse touch to the choruses. There is another moment of gentleness with the first notes of Where Sunshine Cannot Be Met, but as expected, the violence and technicality quickly take over again, drawing us into their groove before tackling The Figure of Echo and its jerky, Djent-infused rhythm, which leaves plenty of room for clean vocals. Lost in Circle takes over and hits us with dissonant and explosive riffs that soften considerably in the choruses, but which know how to veer towards Trap, just like the break in the long Jikan, which nevertheless relies on airy and majestic samples to complete its rage. While Home starts off almost like a ballad, the band redirects it towards violence while welcoming Orianne (Ahna) to offer us a few soaring moments, just like the prog roots that rub off on Echoes of Tomorrow, which is undoubtedly one of the most accessible tracks on the entire album, even occasionally flirting with Alternative Metal. A solo, a final chorus, then Solitude of Kaonashi closes the album with the same softness and melancholy we discovered on the previous track, offering only clean vocals to let us discover this new facet before closing the album.
While OXYMORE mainly shows us that the band knows how to compose with its modern violence, it also allows Kheos to experiment thanks to guest artists and influences that go beyond the core sphere. Keep an eye on them if you like polished productions!
80/100
A few questions to the band Kheos, about the release of their new album OXYMORE.
Hello, and first of all, thank you for taking the time to talk to us! Could you introduce yourselves to our readers? Without using any style labels such as “Metalcore,” “Deathcore,” or other genre labels, how would you describe the band Kheos?
Kheos: We are Kheos, from Lille, founded in late 2014. A band from Lille, in northern France! I think we’re going for something quite brutal, but also emotional at the same time. We try to tell stories in a way that’s violent enough to make it easier to reach the audience. And I think it’s a kind of catalyst, it conveys a lot more things quite easily, thanks to the violence, thanks to the percussion and the symphonies too, which convey the emotions a little more. It’s a pronounced rhythmic side while keeping lead phases. What we remember is that we like music with a theme that you find throughout the song. Personally, I’m less into purely rhythmic music, even if it’s nice from time to time. But after a while, I need to hold on to a melodic line. So a rhythmic side with a melodic line on top. And that’s also the concept of the album, which is not to impose limits on ourselves. We wanted to oppose the labels that people might stick on us, like Metalcore/Deathcore. We do what we like and also express the emotions we felt throughout the album. We also try to touch on things other than “rock/metal” music, including some cinematic influences, and you can feel that a bit in our compositions and orchestration.
Raven: Yes, I think that came across a bit in the symphonic aspect, which surprised me a lot, actually. I wasn’t expecting it because I’m not really a fan of metalcore and stuff like that, so I didn’t know what to expect, and then I was like, “Oh, but actually, this is really good.”
Why did you choose this name, and how do you personally relate it to the music you play?
Kheos: The name comes from all the different influences we had, which made it difficult to put into words what we wanted to do, and when there are a lot of things mixed together, it’s chaos. We said to ourselves, “Well, let’s use an Anglicism,” and that’s how Kheos was born. Aimane refined it with even more allegories, etc. But basically, what we love is creating lore. We’re a bit geeky about everything related to Japan and fantasy, and “Kheos” isn’t a real word, but phonetically it sounds like “chaos,” so we decided to create a lore based on that word, and then we developed all our compositions and all the themes we address in our songs. The word chaos also appears in the Warhammer 40K universe with the armies of chaos. There are several gods in it that reflect human emotions and a lot of things from the theme, so it works very well in what we do, and in our first logo, the very first one, there was the symbol of chaos inside.
Raven: I have some Adepta Soritas miniatures to paint, so I’m familiar with it. Are you more into Khorne, Tzeentch, Nurgle, or Slaneesh?
Kheos: Khorne 100%, but it’s interesting, this work addresses the origin of these gods, and we wanted to explore that.
Your first album, OXYMORE, is coming out soon. How do you feel within the band? Have you had any feedback about it yet?
Kheos: We released the first track from this album almost three years ago now. It was a process that took us longer than expected. We got caught up in a back-and-forth process, and it went very well, but inevitably, as our influences evolved and we sought perfection, we could get lost. At some point, you have to say stop, but it was difficult for us because it’s our first album. We put a lot of effort into it, and when you invest a lot, you want the result to be as good as you want it to be, as good as you hope it will be. We also learned a lot because it took us five years. There were a few lineup changes along the way, and we worked mainly with Chris Wiseman, our producer. It was a phase where we learned a lot about both musical composition and how to create an album. To answer the question more precisely, we had this strategy of releasing singles as we went along to ultimately lure listeners into our universe and take them with us on a journey into the realms of chaos. We had to restructure our approach several times to get to where we are now, so we released four singles leading up to the release of our album next March, followed by Immortal Warfare. We followed up with the light/dark concept, where we try to represent the theme of the album itself. Then we followed up with Figure of Echo and finally Home to get to the official release of the full album. For feedback, we called on musician friends, people we trust, and loved ones, and the feedback was very constructive. We’re pretty well supported, even by the bands we’ve played with on the scene. We can’t wait to share it with more and more people. We can only be satisfied given all the effort we’ve put into it and everything we’ve learned along the way.
How would you sum up OXYMORE in three words?
Kheos: – Contradictory. We have 12 tracks, with 6 that are more Metalcore and 6 that are more Deathcore. There are themes that are addressed that seem to be opposed, contradictory, but ultimately, they’re not that contradictory. It’s conceptual in the sense that we haven’t seen other bands take such a strong stance, let’s say in core music in general, whether it’s deathcore or metalcore. We really feel both styles in the album.
– Nonconformist. It’s nonconformist in relation to the music being produced at the moment. We know very well that in our extreme styles, there are elitists who demand that it be a certain way, that it meet a very specific standard of production.
– Journey. For me, the last word is journey. You travel between two worlds, and that’s what we’re trying to show, that it’s not necessarily contradictory for the two styles to coexist.
We took a risk, because we’re influenced by all these styles, to release a concept album with two different but complementary styles. Then we wanted it to reflect ourselves too. That’s what Rémy said at the beginning, we have a lot of influences. We couldn’t see ourselves focusing on just one spectrum when we have such a wide spectrum of different musical styles. And with regard to the album, which is called Oxymore, where two opposing concepts come together. Ultimately, something that may seem chaotic to us is closer to what we call an oxymoron, which is the title of our album.
How did the process of composing OXYMORE go? Did you notice any changes compared to the band’s beginnings more than ten years ago, and to the EP Down to Hell released in 2018?
Kheos: It often starts with the guitar or an orchestral symphonic idea, but we might also think of a melody, start with the violin or piano, whatever. We find a theme and go from there. Then we start exploring the theme and, in that case, we try to add rhythm and develop it. Or it’s the other way around: we have a rhythm and we have to find a theme to go with it. After all, everyone is a source of inspiration and composition. Aimane isn’t a guitarist, but he’s done drafts, first drafts. I often talk about orchestral themes and then I put in a guitar sketch, and then the guitarists refine the riffing. I think we agree that it’s either a melodic line, a guitar line, or an orchestral line, and after that, the evolution happens naturally.
Raven: Okay, and compared to when the band started over 10 years ago, you said there have been changes, but has the composition process itself evolved?
Kheos: Since the beginning, it’s always been more or less the same because it’s projected onto Guitar Pro. We have an idea, we try to do something with it, either a recording or a table on Guitar Pro. It almost always starts with the guitars and the orchestral parts. Sometimes Steph will give us vocals with rhythms and we have to try to work with that. Ultimately, everyone participates in each composition and makes sure the final result is what we want. Everyone contributes to the whole.
Raven: And you bring it all together. Was there a big difference in the composition compared to the EP Down to Hell released in 2018?
Kheos: In terms of inspiration, yes, it has clearly evolved. We listened to it again not long ago and we can see the change. In terms of production, I’m not even going to mention what we did. Anyway, in terms of overall inspiration, it’s true that it also shows our evolution as musicians. Except that now it’s much more professional, we also have more equipment. It’s a normal evolution, with professionalism gradually setting in over time. Stéphane said earlier that we work with Chris Wiseman, who is one of our biggest influences and the guitarist for Shadow of Intent. He also helps us with composition. He has an objective perspective, and when we’re heading in the wrong direction, he tells us. He gives us feedback and sometimes even removes riffs altogether. But that’s important because we have our heads down and aren’t necessarily objective. What he suggests is always legitimate and relevant, but we’ve also said no, we’re keeping that. He’s not a producer who has his own vision and is inflexible. He helps us find a direction and guides us, but it’s still our album. Narratively, Oxymore is still a continuation of Down to Hell in the sense that Down to Hell was a descent into hell, and we started with fairly classic Metalcore, then moved on to Djent, until we got to the last song, which was still pretty Deathcore. Oxymore is a real continuation, even if we’ve split things up more radically. We like to tell stories, and in Down to Hell we try to tell the story of someone who falls into depression and plunges into a hell from which he can no longer escape. In Oxymore, the depression starts off quite violently, but in the second part of the album there’s a slightly more positive aspect to it. It’s a descent and a rise with Oxymore.
The band’s sound blends Metalcore, Deathcore, and a sometimes complex but always modern Progressive approach. How do you manage to create your own unique style from these roots? Which bands would you cite as your main influences?
Kheos: Our style evolves a lot due to our influences, which also evolve from year to year. We were very metalcore at the beginning, and there was a big trend towards djent at one point with Periphery, so that inevitably had an impact. Later on, we moved towards deathcore while retaining a metalcore and symphonic side, of course. I think we arrived at a time when Shadow of Intent was exploding, and we were really into them, so I think that also had a big influence on us. Obviously Shadow of Intent, who are also the ones we collaborate with. For the more metalcore side, we’ll mention Currents, Crystal Lake, and even Ankor. We also have influences that have nothing to do with Metal. For example, Aimane listens to a lot of Electro and even French Rap. Stéphane is more into Slam and that kind of thing, potentially Grindcore, and Rémy also listens to Synthwave. We mix all that together and hope that it comes across a little bit in this album.
In the press release, you referred to OXYMORE as “The Human Paradox.” Can you elaborate on the album’s approach and theme?
Kheos: It’s related to the emotions conveyed in the album, in the sense that there are certain songs that can talk about quite personal stories, such as grief. It’s true that it can be a very painful experience, but also quite sweet for some people, and in certain songs, we try to convey this way of seeing things. We say to ourselves, “Sometimes it can be very sad, but this way of understanding sadness can be very sweet; it’s not necessarily just sadness.” There’s a whole range of feelings that can seem contradictory, but which are actually one and the same. And that’s what it means to be human in general, which is what we wanted to convey as much as possible on this album. For example, Aimane, the band’s singer, talks about anger, but at the same time, it’s an anger that can be soothing, a kind of catharsis.
There are three guests on the album, Cyril from Solar Eruption, Valérie from Penumbra, and Orianne from Anha. How did these collaborations come about?
Kheos: Quite simply, the collaborations we’ve had are with friends from bands we’ve already shared the stage with, who have seen us evolve and whom we’ve seen evolve. Rather than wanting to bring in well-known names, what we’d also like to do is share the music of the North, like Lille, in general. It seemed the most logical thing to do, based on styles and friends, to invite them to be on our album. We’re lucky that, in the end, the bands that are with us are all extremely talented. Why go looking for people on the other side of the world when we already have talented people right next door who are also great friends!
Raven: We have to consume locally!
Kheos: That’s what we do, they’re organic and local. *smiles*
On OXYMORE, two tracks (Jikan and Solitude of Kaonashi) make direct references to Japanese culture, as do some of your visuals, while others (Wrath of Cronos and Against the Gods) seem more focused on Greek mythology. What is your connection to Japanese culture and different mythologies?
Kheos: I think it’s related to building lore, we like doing that. For example, 40K (reference to Warhammer 40K), isn’t that a version of Greek mythology? The same goes for all mythology. You can see that there are a lot of similarities between the various mythologies, and we’ve drawn inspiration from all of them. There’s also the fact that culturally, we’re influenced by Japanese culture since we’ve been raised on manga and anime since birth. These are things we listen to and enjoy visually. And mythology lends itself very well to storytelling. In Greek mythology, there are lots of dramatic, fantastical stories. When we grew up, we weren’t afraid to evolve with anime that was quite violent, that came from the heart and guts, and I think today, that’s reflected in our music. I think one of the perfect examples is Saint Seiya, which brings together both the Japanese world and mythology. We’re all pretty big fans of Saint Seiya. I think it’s a beautiful image to navigate different cultures and different universes to show, for example, that grief affects everyone, that anger is the same. All peoples are searching for a purpose, for answers, and since I think we too are looking for answers directly, we use mythology to accompany listeners in this search, and if they find them, they can call us! *laughs*
OXYMORE is an independent album. How important is it to you to remain an indie band? How is the collaboration with SLH Agency going in terms of communication?
Kheos: I think for us it’s a question of exposure. We can’t pretend to be part of a roster like Nuclear Blast or others. There’s also the fact that, looking back, we know what it means to make an album. Having orders saying “you have to release an album every year” would take away all the pleasure of doing what we’ve done. If you go into Industrial mode on a production, and I think a label or a producer will push you to do that. So that’s why being independent is also important to us. We don’t want guidelines, we don’t necessarily want a schedule to stick to. I think it’s mainly because we’re tryharders, but also because there are so many things to deal with when you’re independent and you have to figure everything out for yourself, you have to manage every aspect without deadlines and you have to be serious about it. That’s why we’ve learned so much through self-production and our way of working. It’s also a lot of money, the sinews of war. In terms of skills, for example, we make all the clips ourselves because Aimane is in audiovisual, and Rémy and I are both in IT. Stéphane has recently become very skilled in community management, and ultimately, we don’t really need to look elsewhere for skills because we’ve built them ourselves. Except for the magazine and radio aspects, I think it works really well through contact, through knowing lots of people. I think it’s incredibly energy-consuming to list everyone, contact people, and filter out the right ones. It’s a real full-time job, so we outsource it. We already manage a lot of topics between the four of us, and time is ultimately the most precious resource we have.
The band has already played a few dates, including a Christmas Party last year in Lille, but unfortunately I’ve never had the chance to see you live. How do you approach a concert with Kheos? Do you have any pre- or post-concert rituals?
Kheos: Pre-concert, it’s changing the order of the songs. *laughs* Always adding something. That’s happened to us several times. Now, we try to have a set that doesn’t change. We rehearse a lot during the month before, trying to be precise and put on a show and create a moment where there’s a real connection with the audience. You mentioned the Christmas party, but on that occasion, we organized a costume contest, for example. We still try to bring something to the audience because we know they bring something to us. Tomorrow we’re playing at Saint-Sauveur in Lille, and what’s interesting about this evening is that we’ll be the most brutal metal band of the night. It’s very much in the electro drum and bass style. We also try to have visuals that fit the evening; we like to adapt. The environments we play in are almost like concerts, like an intro, because depending on the event, we try to do a themed intro.
Raven: I understand your little habits now. It’s actually organized chaos. You’re chaotic neutral, to use RPG terms.
Kheos: Post-concert… If only we didn’t have to carry a 12-ton drum kit! We usually have a debriefing on how it went and how we can improve. We’re a group of friends, but we also want to go a little further, and to go further, we have to improve all the time, and to improve all the time, we have to look back each time. So, a little debriefing at the end.
What are Kheos‘ next projects after the album release?
Kheos: It’s already underway! The album is just a stepping stone, and we’re already starting to build and compose new songs to keep the momentum going. And the album isn’t the end of the band. We’re already in the process of composing. This year, we also have a goal to perform live quite a bit. We’re going to try to combine composing something that we still need to structure with perhaps a more assertive guideline. For the next album, we might focus on something that’s more energetic, more powerful. We’re still working on all that.
Do you think you have improved as musicians and composers with this album?
Kheos: Improved as musicians, yes, in the sense that we were unable to play what we composed for the album before. For example, Stéphane has increased his technical skill and speed tenfold for the drum parts. Five years ago, it was much more complicated. And with an album covering two styles, Aimane has to sing both clean and growl vocals, so he has to be able to do both, which is not easy at all.
Which bands do you dream of playing with? I’ll let you imagine your dream date with Kheos as the opening act and three other bands.
Kheos: Well, Shadows of Intent, to begin. The drummer is a beast, and the singer, I don’t even need to mention him. If they had us open for their tour with Lorna Shore in Brussels, and we were thrilled. We also like modern Metalcore, so all the new bands, the new generation that rocks. If you had me play with Bad Omens, Resolve, Landmvrks… We’d never say no to sharing the stage with those big bands.
Last question: what dish would you compare Kheos‘ music to?
Kheos: Half Bolognese, half spinach lasagna? No, that’s disgusting! *laughs* More like a sweet and savory dish. Flemish carbonade, a dish from the north. That’s not bad, it has beer in it too. Let’s go with carbonade!
Raven: I was expecting you to say Welsh rarebit, but that’s very heavy.
So that was my last question. Thank you for your time, and I’ll leave you with the last word!
Kheos: Go listen to us and try Flemish carbonade, it’s good! Thanks also to those who have followed us, especially on this long project. We know that there are a lot of people who have been waiting for this album for about five years, and now it’s finally out, so thank you to those who thought, “This is a band that has a certain merit.” Thanks especially to them.