KHEMMIS – KHEMMIS

(Andy Synn girds himself to take on the epic new album from Khemmis, set for release this Friday)

Self-titling an album is always a bold move.

After all, what it says to an audience… for better or worse… is “this is the definitive version of who we are“.

It stands to reason, then, that self-titling an album when you’re already more than a decade into your career, with four other incredibly successful records already under your collective belt, is an even bolder move.

Because it doesnt’t just say “this is who we are“, it also says “this is what we’ve been building to all this time“.

So let’s see exactly what Khemmis have been building, shall we?

Right from the start you can tell that something is different… it’s not just that “Invocation of the Dreamer” kicks off with a burst of savage blastbeats and a scorching scream (as the band have dabbled in these before) or the way the more prominent, provocative bass-work (courtesy of new-ish member David Small, making his recording debut with the band here) really beefs up the epic, groove-driven strains of “Corpsebloom Garden”, it’s the overall sense of energy and urgency you get from a band not just performing at their peak (and keep an ear out for the understated, but impressively nuanced, work of drummer Zach Coleman throughout the record) but also playing just for the sheer thrill and enjoyment of being in a band.

And while I don’t mean to suggest that Khemmis haven’t enjoyed themselves before now – for the most part you don’t get to your fifth album together without loving what you do – it’s clear from songs like “Grief’s Reverie” (which, to my ears, is where the album truly hits its stride) and the shamelessly catchy “Beneath the Scythe” (whose soaring chorus and shredding lead guitar work make it a prime candidate for “Song of the Year” status) that they’re having more fun, and are therefore more energised and more engaged, here than ever before.

That doesn’t mean, however, that they’ve totally neglected the darker, doomier side of their sound (the bombastic climax of the aforementioned “Invocation…” puts the lie to this suggestion pretty early on, while the colossal chords and guttural growls of “Carrion King” occasional even edge towards Death-Doom territory) nor has the tighter, snappier songwriting (enabling them to fit in eight tracks rather than the usual six this time around) prevented them from demonstrating just as much variety, especially when it comes to the increasingly captivating contrast between Dio-esque cleans and Dismember-ish growls (the latter of which pop up far more frequently) and the band’s willingness to let their quieter, calmer moments take centre stage when necessary.

Of course, it helps that the Colorado quartet have written some absolutely banging tunes as well, with the likes of the anthemic “Gilded Chambers” (whose heroic hooks could easily go toe-to-toe with “Beneath the Scythe”) and the sublime storytelling of “Tomb of Roses” (with its scintillating combination of moody acoustic guitar work, weighty, doom-laden riffage, hefty, hard-hitting drums, and astonishingly articulate vocal melodies) proving that while the songs might be shorter they’ve lost none of their power or majesty (if anything, by the time you reach grandiose closer “Benediction Tones”, you should have realised that the band’s eponymous album is arguably even more powerful, and certainly that little bit heavier, than any of its already impressive predecessors).

Which, ultimately, should be the main take-away from this review… because while I’m not saying that Khemmis weren’t good before (sometimes very good indeed, as it happens) this definitely feels like the first time they’ve achieved true, unimpeachable greatness – even if the artwork isn’t quite up to their usual standards, in my opinion – making their decision to self-title their fifth (and finest) album a wise one indeed.

And that’s coming from a site called (albeit, with tongue firmly in cheek) NoCleanSinging, so you know it must be true.