After eleven years of releasing albums and touring the world, Denver’s Khemmis have become a pillar of the modern metal scene. But on the cusp of releasing their fifth full-length record, the band admit to having rediscovered something unexpected and powerful: the joy of making heavy music together.

The album was conceived as a self-affirming celebration of heavy metal, friendship, and creative freedom. While it explores themes such as catharsis, exuberance, inspiration, and creative renewal, it also embraces imagery of death, grief, carrion, tombs, and mayhem. The band call this balance “jubilant darkness,” perhaps the best phrase to describe the album’s emotional character.

Released under Nuclear Blast Records and given the doom metal genre tag, it is suggested that fans of Spirit Adrift, Green Lung, Pallbearer, Baroness, Elder, Cough, and Monolord will approve. After several listens, I would add that strong Dream Theater influences emerge at times, further placing the album within progressive metal and progressive rock territory. Khemmis achieve this through a blend of powerful traditional heavy metal riffing, intricate songcraft, technical proficiency, and ambitious, theatrical storytelling.

The album comprises eight tracks, with all but three running well beyond five minutes. You will need some time set aside to dive in and absorb this one.

“Invocation of the Dreamer” launches in savage fashion. There is a ferocity in the rasping guitar riff as the tempo picks up. A fabulous grooving bass solo is thrown in, and a contrasting acoustic guitar piece adds to the creative mix. This is a feature found on later tracks too, ushering in the Dream Theater and Opeth vibes.

“Corpsebloom Garden” is not as macabre as it sounds. I loved the bass bouncing along in the timing department behind a choppy guitar. The tempo quickly changes for a guitar breakdown and solo, before an injection of fairly subdued extreme vocals. There is certainly some resonance with Opeth in here. The varied vocal approach gives the track an infectious sense of a band enjoying itself. The track continues to tear away with another fluid guitar solo before abruptly signing off.

“Grief’s Reverie” develops the theme established in the previous track. It is a showcase of technical ability, weaving a complex tapestry of choppy rhythm, down-tempo interludes, extreme vocals, and fluid guitar solos interspersed with acoustic guitar.

Next up, “Beneath the Scythe” launches with an intro reminiscent of NWOBHM material. We are treated to a galloping rhythm and uplifting vocals that complement the sometimes sombre, down-tempo moments and associated guitar figures. This track has energy and variety in spades.

“Gilded Chambers” feels like the first standout track. A punchy intro on drums gives way to more uplifting vocals. Extreme vocals and a guitar solo lead into a dramatic slowdown occupied by clean guitar and bass for a sweeping change of mood. Dream Theater fans will love this one.

“Tomb of Roses” opens with a captivating introduction that hints at early Metallica influences. Delicate acoustic guitar creates a vast, immersive atmosphere before a powerful riff and infectious rhythm drive the song forward. Uplifting vocal lines sit alongside lyrics exploring themes of deception and illusion, while soaring harmonized guitars and a stellar solo provide some of the album’s finest moments. Emotionally engaging from start to finish, this could well be the album’s crowning achievement.

“Carrion King” is by far the longest track on the album, running well over six minutes. It is very interesting, with what feels like a brief venture into death metal. Additionally, the doom level is cranked up a notch or two towards the end.

“Benediction Tones” features a nice melody and a catchy chorus. This feels like a proper sign-off song, the guitar fading out mysteriously at the end to reinforce the farewell vibe.

Khemmis have launched something only just a little short of a masterpiece with this album. It frequently takes you by surprise, even though the extreme vocals are a little repetitive after the first few outings. To pigeonhole this as doom does not do it full justice. It contains more variety and creative technical excellence than you would find in most albums from the genre. Indeed, it frequently leans into progressive territory.

Khemmis will be busy hitting the road across North America until September with the likes of Necrofier, Wretched, and Monolord. They arrive in the UK in mid-October at some famous doom haunts. Miss them at your peril!