Khemmis – Khemmis (Review)

Khemmis might be the best-known unknown band of recent years. While continuously receiving the highest praise from critics for releasing epic doom records such as Hunted in 2016 and the well-received Deceiver in 2021, and also gaining some attention by having one of their songs featured in The Dark Pictures video game series, they have not yet managed to break through to a wider audience. I am delighted to help shine at least a little light on these massively talented four musicians from Denver, Colorado. Hopefully, that will change with their new self-titled fifth record, because they deserve it.

When a band releases a self-titled record, it can be an indication of one of two things: either a culmination of their already established sound as a definitive statement, or a half-assed back-to-the-roots record. Luckily, in this case, the former applies. After five years, lineup changes (David Small of Glacial Tomb now handles bass duties), and relocations, the band took their time to truly channel their influences into one cohesive unit. This means that all the ingredients long-time fans are familiar with are still present, but delivered in a different manner.

While the band was previously notorious for including only a handful of lengthy tracks on their records—songs that slowly built momentum through the interplay of traditional Candlemass- and Saint Vitus-inspired doom segments and NWOBHM guitar arrangements akin to Mercyful Fate and Iron Maiden—they now blend those elements in a more song-oriented way. This results in more stripped-down compositions, which is also reflected by the increased number of tracks while maintaining the usual LP runtime of roughly 40 minutes.

Opener “Invocation of the Dreamer” immediately demonstrates this newly found focus with blistering black-metal-inspired screams, pounding and steady rhythms, and the sublime lead vocals of Phil Pendergast, making it one of the band’s best and most straightforward songs to date. This is as catchy as it gets for melancholic and epic doom metal. “Corpsebloom Garden” leans more heavily into the members’ extreme metal influences (they are also active in scorching acts such as Black Curse and the previously mentioned Glacial Tomb), as death growls serve as a great counterpoint to the epic hook and excellent traditional soloing toward the end of the song.

“Grief’s Reverie” increases the dynamic range with driving, heavy doom chords, death growls, and a slowed-down, medieval-feeling chorus before closing out with fantastic harmonies. In general, this newly found focus on implementing catchy hooks works very well and makes the songs easier to digest for new listeners. Thankfully, the arrangements remain just as dynamic and exciting as on previous records, which further underlines the songwriting quality of these musicians. No heavier section feels out of place, tempo changes and transitions occur naturally, and technicality never results in unnecessary showboating.

Nice little surprises such as the D-beat-driven “Gilded Chambers” and the blast-beat-fueled “Carrion King” show that the band still knows how to change things up, keeping the listener engaged throughout the record’s entire runtime. These two tracks also rank among the heaviest Khemmis songs to date. Another highlight comes in the form of the epic closer “Benediction Tones“, which offers yet another memorable and catchy-as-hell hook that will be burned into the minds of everyone who hears it.

Production-wise, Khemmis‘ self-titled record sounds massive and well differentiated, though perhaps a little too glossy for some fans of their earlier work. However, given the sheer songwriting quality and technical prowess demonstrated here, this minor criticism can easily be overlooked.

Khemmis succeeds in stripping down—but not dumbing down—their sound to its absolute essence, delivering their most cohesive and focused record to date. While sacrificing a little of their former epic grandeur, the band more than makes up for it with distinctive and memorable songwriting, technical proficiency, and gorgeous melodies, all while maintaining their heavy, doomy edge. If you’re looking for epic doom metal with gorgeous melodies, this is your go-to record of 2026.

Ray Transcended

From: Neheim (Germany)
Favorite Artists: Black Sabbath – Every Time I Die – Dissection
Best Show: The Last Dillinger Escape Plan Show @Gloria, Köln
Band: Cold Gloom