Khemmis

There has been a deluge of upstart doom bands over the last decade, some of them great (Kongh, Pallbearer, Orchid) and many others not so much (seriously, there are way too many to name). The oversaturation point for low and slow approaches quickly, so new kids on the block need to come hard in the originality game. Sabbath and Sleep riffs are great, but I’ve got plenty; why should I rock out to yours?

Denver’s Khemmis makes a compelling case on Absolution, their debut for 20 Buck Spin. That’s the first component to what makes this album extraordinary. The musicianship, arrangements and production (courtesy of Cobalt/Nightbringer studio sage Dave Otero) all belie the fact that this is Khemmis’ first dance. Comparisons to Pallbearer are inevitable, not only because of similar musical styles and influence but in the fact that a single underground demo preceded such a fantastic debut. The interplay of dueling guitarists Phil Pendergast and Ben Hutcherson is subtle, but really shines when the band switches gears from Warning atmospherics to Thin Lizzy/Mastodon groove. This isn’t coincidental; in a recent interview bassist Daniel Beiers mentioned that the band half-jokes about having a Thin Lizzy part in every song. The riffs in “Serpentine” or “Burden Of Sin” can trace a lineage straight back to Black Rose.

Where Absolution really gets cinematically evocative is in the vocal department. Pendergast has a wonderfully nuanced clean singing voice that is unlike much else in the genre. There are similarities to Wino and Pallbearer’s Brett Campbell, but his timbre and delivery stand apart. Nowhere is this more apparent than on closer “The Bereaved”, where his ethereal voice both mourns and damns the world around him: “And so I fell / Into the night / Psilocybin dreams / Claiming my mind/Into a void / There is no savior / Where is my life? Where is my darling now?” The lyrics contained within Absolution don’t get much happier than that, running the gamut of depression, isolation and suicide. Yet one can’t help but be moved – emotionally, spiritually, whatever you want to call it – by the sheer power Khemmis has harnessed on what is easily my favorite doom record of 2015.

—Chris Rowella - Invisible Oranges

2015 may not end up a magical year for metal, but it has certainly dropped some earth-shaking doom on the unsuspecting masses. In the wake of mammoth shit kickers from Crypt Sermon and Goatsnake, we must now reckon with the ponderous girth of unheralded Colorado doomers, Khemmis and their righteous debut, Absolution. As with Cyrpt Sermon, these slow motion maulers arrived at my door without hype or buzz and proceeded to lay waste to my time, attention and reviewing schedule. And they did it with a formula that’s far from arcane or revolutionary – taking traditional doom and blending it with stoner metal like Mastodon and High on Fire, a little southern groove and some old school rock ideas. Hardly groundbreaking ingredients, but the muck they dredge up at the delta of these influences is so listenable and addictive, you may think they stumbled upon a whole new doom enchilada. And that’s the alchemy the band practices; taking what is old and making it feel somehow fresh and invigorated. Add to that, a cover that could have been used for Ralph Bakshi’s super cult adult cartoon, Wizards, and there’s definitely some wild mojo percolating.

Absolution is a mere six songs, but man, they’re impressive and beastly numbers. Opener “Torn Asunder” clues you in right away that something good is afoot with riffs you can immediately get behind, haunting, Omnium Gatherum-like harmonies and the clear, forlorn vocals of guitarist/vocalist Phil. It’s very accessible for ponderous doom and has more than a little Pallbearer influence, but dare I say, this is much more memorable and instantaneous. Better still is the epic “Ash, Cinder, Smoke” where the band adds a bit more of a goth aesthetic along with a ripping swagger and an irresistibly bouncy, jaunty riff at the 2:10 point. Phil’s vocals are particularly gripping here and the whole song works a hypnotic charm on the listener while never forgetting to rock and/or roll.

“Serpentine” clocks in at over eight minutes but never overstays its welcome, captivating the listener with excellently slithering riffs and ultimately uncorking a mother of a hooky lead that could have appeared on Sabbath Bloody Sabbath. It takes the song to a whole other level and you’ll be left impressed with the depth, groove and authenticity of it all. But these are just setting the table for the ginormous monster that is “The Bereaved.” The nine-minute closer is the band’s magnum opus and worth the price of admission all by its lonesome. It’s loaded down with beautifully emotional, plaintive vocals, heavy riffs, tripped out Kyuss-like experimentation and good old-fashioned rock n’ roll bombast. It rumbles along at a brisk pace rather than dragging like a crippled frost giant, and that makes everything far more engaging and lively. The ultimate testament to the song’s quality is that despite the length, it goes by in the blink of an eye and leaves you wanting more. Not many doom bands can pull that off, folks.

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There isn’t a bad song or weak moment anywhere to be found and things gets radically better with repeat listens. The sound is rich and engrossing, the guitars are beautiful and crushing in equal measure, and the concise 41 minute runtime avoids doom fatigue. Sure, a bit more dynamic range would have been sweet, but when a band gives so much quality, I’m not going to bitch about a perfect DR score (I’ll leave that to our friends, the Metal-Fi weenies).

Phil and co-axe Ben are the main reason why Absolution is such a mammoth slab o’ win and together they run a high-level clinic on crafting riffs that keep a song engaging and memorable. There are many little moments that jump out and make you want to hear them again, and they shake things up regularly by dragging in ideas from rock, stoner, goth and traditional metal. The end result is a doom album that refuses to play like one because it’s too damn energetic and dynamic. Add in Phil’s rich, emotional vocals and Ben’s gruff, quasi-death barks as a counterpoint and everything takes a big step forward (especially at 3:30 on “Antediluvian”). Also of note is Dan’s heavy bass presence, which thumps and bumps with Geezer Butler-esque authority.

This is one polished humdinger of a debut and it’s travelling like a bullet up my Records o’ the Year list. I can’t stop spinning it, and if this is what legalized marijuana delivers, then I hope Colorado (and by extension, Khemmis) never emerge from their Rocky Mountain haze. Stone them. Stone them all wicked hard! - Angry Metal Guy

As much as I love doom metal and tend to bask in it pretty much constantly, I am becoming more and more skeptical about the onslaught of new bands that hit us on a weekly basis. There’s a lot of the same stuff going on, and not like I’m the grand master of taste or anything, but it gets a special effort to really wake me up.

Possibly it was the trust I have in 20 Buck Spin, but when the Khemmis promo landed in my inbox a few weeks back, I dug in immediately. The lure of traditional doom strains piqued my interest (though there are many bands that butcher that terrain as well), and mere minutes into the band’s debut record “Absolution,” I was totally hooked. A lot of what people like about Pallbearer is here, from the elegant doom storytelling to the clean singing, but the music isn’t a mirror image. There also are elements of Sabbath, St. Vitus, and many of the other doom pioneers, as well as some grimier, heavier parts that travel more modern pathways. All in all, they take these various aspects of this well-worn sub-genre and create six songs that burst with life and should get your fists firing into the air.

12 Jacket (3mm Spine) [GDOB-30H3-007}The Denver-based quartet only have been alive for three years now, and they already have an impressive, soulful grasp on their sound. The members choose to go by single names for this project, with Phil and Ben on guitars and vocals, Dan on bass, and Zach (Dominion, Vasaeleth) on drums. The band’s sound is heavily steeped in the late 1970s/early 1980s, especially when it comes to the clean vocals, but when the time is right and some thorns are required, the band can unload the hammers and get as heavy as you need them to be.

The record opens with “Torn Asunder,” a track that simmers in buzzing doom and muscular riffs before it opens up. The singing envelops you, swallows you, and drives you into the smoke, where the guitars light up and start blazing. Later the growls emerge and the grit smothers, with cosmic feedback filling in the final moments. “Ash, Cinder, Smoke” unveils more strong guitar work, as well as some vocal harmonizing you don’t hear everyday on a metal record. The pace starts to gallop, with melodies aligning, dual guitars glowing, and vicious growls filling in and injecting a sense of dread. “Serpentine” uncoils slowly, with the vocals filling the space, providing both character and a guide through the murk. The guitars begin to spill out, helping give the song its form, but then it’s right into a tempo shift that signals storms on the horizon. The music gets heavier and deadlier, with the growls sounding vicious and the rest of the band surrounding all of this with blinding power.

“Antediluvian” is a bit more raw, trudging hard out of the gates and being drizzled with psychedelic guitars. Out of the smoke, burly and beastly howls lead the way, adding to the song’s menace. Singing later colors in the background, as the song’s title is howled with strength and desperation. “Burden of Sin” kicks up the mud, with the growls arriving first for a change and taking the track down a shadowy path. Later, clean singing arrives, adding engaging drama to the whole thing. While there is sludge, and it is thick, there is just as much great melody to balance everything out and split time between dark and light. Closer “The Bereaved” is a nine-minute climax, the longest cut on the record and one of the most impressive. After a clean psychedelic open, sounds start to burst and the guitars begin to wail. The singing is emotional and reaches out for a hand from beyond, with the band digging deep into the same places mined before them by Sabbath and other greats, as they surge and put on a final display of power. The final moments find the band pushing their might into the stratosphere, giving way to swirling pockets of fuzz that lead the song into the unknown.

Khemmis’ debut is totally solid and one you should try to track down no matter what style of doom is your favorite. These guys have a great style, awesome delivery, and knack for writing songs that are just long enough to feel epic but not overstay their welcome. “Absolution” is a tremendous effort that signals the arrival of a great new doom power.

For more on the band, go here: https://www.facebook.com/khemmisdoom

To buy the album, go here: http://20buckspinshop.com/

For more on the label, go here: https://www.facebook.com/20buckspin - Meat Mead Metal

When I discovered that Denver-based doom/sludge metallers Khemmis have only existed since 2012, I genuinely could not believe my eyes. It only takes one listen of their monster debut LP, Absolution, to understand why. With so many notable doom metal bands out there such as Goatsnake and Red Fang, it would initially seem difficult for there to be another on the same level, let alone a relatively new band. However, Khemmis have such a unique and mature sound that combines both southern sludge and doom topped with beautiful, clear and mostly clean vocals that it’s quite possible these guys could become just as unforgettable as those big names someday.
Opening Absolution with the slow, sludgy guitar riff of “Torn Asunder,” it is possible to visualize expressions of pure satisfaction spreading across the faces of fans. Quite right, too, as this track is both thunderous and majestic with clean lead guitar sections and crisp, smooth, Pete Stahl-esque vocals with some guttural shouts thrown in for good measure. The storm continues into “Ash, Cinder, Smoke” which is all about fuzzy, bluesy guitars and prominent bass lines plus some evil-growled vocals.
“Serpentine” is trademark stoner-rock and could easily have been used in a Sons of Anarchy episode. Downtuned, heavy and raw, apart from those stunning vocals, this is easily the anthem of the album. “Antediluvian” is very much of the same vein and is slow to begin with, although lashings of deathly growls come midway and stick around for “Burden of Sin.” Sometimes it’s questionable as to what the harsh vocals add to the tracks and whether their inclusion makes Khemmis’ material any less accessible, but at the same time, it’s proof that they aren’t afraid to go beyond the limitations of the genre and actually incorporate a hardcore vibe.
This album closer “The Bereaved” is a song that might be listened to at the end of a hard week, beer in hand, hidden away from the world. It’s dark, it’s moody, and the guitar-work is downbeat and gritty to the max. The vocals shine through and soar above the sombre instrumentals only to pick up in speed towards the end, but only enough to provide variation.
Absolution is 100 percent worth a listen. In fact, it’s worth a few listens. The future is bright for Khemmis in a dark, doom-filled sort of way. - Skulls n Bones

Doom is, and forever will be, the simplest of the heavy metals. But while any cellar dweller with an SG and a tower of tubes can tune low and strum slow, few do it well. Drummers will tell you it’s far harder to play slow than fast because any fluctuation in timing (referred to as “feel” when it works) is obvious to the listener, and often distracting, which might explain why there’s nothing harder to sit through than a shitty doom band. On the other hand, slow tempos give a superior drummer the opportunity to shine — when the “feel” is there, there’s nothing better (see: Black Sabbath). Fortunately, we live in a great age for doom, where stellar albums arrive as we need them, not before, and all with the perfect degree of “feel.” Twice we’ve seen Pallbearer revitalize clean-sung doom, and the world is better for it. Windhand released one of the best doom albums in years with 2013’s Soma, and they’re set to release another one later this year. Meanwhile, earlier this year we got the perfect hybrid of epic-doom and trad metal from Crypt Sermon. Khemmis sounds a bit like each of those bands but takes a more aggressive approach to melodicism: the clean vocals are cleaner, and the lead guitars are insane. The band describes themselves as “a doom metal Iron Maiden”, which isn’t inaccurate. Attempting to go any further than that, to describe the minutiae of something as simple as a doom track, would only diminish its power, so I won’t bother. Suffice it to say, this is the doom album of the summer. [From Absolution, out 7/7 via 20 Buck Spin] –Aaron - Stereogum

Opening track, “Torn Asunder,” introduces a gentle wince of awesome groove that carries through album’s duration. “Ash, Cinder, Smoke” pairs bleak Doom tones with dual vocal harmonies and guest gutturals and growls from Primitive Man’s Ethan McCarthy, for a pensive, impressive soundscape.

On “Serpentine,” we hear Khemmis’ “Dopesmoker”-tinged tenor, as Khemmis vocalist Phil Pendergast pulses with Al Cisneros’s stony pace and ominous prattle.

Favorite track “Antediluvian” rides in on an unrelenting cool: a backbeat of Southern Sludge and Blues rubs in the right way, as guitar solos wail in at the right time. “Burden of Sin” follows suit with unabashed shred and groove.

Closing track, “The Bereaved,” is a breathy, sentimental opus, where a contemplative intro builds slowly towards big-riff resolution, emerging poised and well composed.

Honed and edged by the likes of Sleep, Red Fang, and Yob, Khemmis has amassed a truly significant debut effort.

Absolution was produced by Dave Otero and is slated for release July 7th, 2015 via 20 Buck Spin.

You can keep up with Khemmis via the official band Facebook page at www.Facebook.com/KhemmisDoom; keep your ears peeled and primed for more on the Khemmis and Absolution via OSPREY. - Osprey Magazine

Denver quartet Khemmis' new album is really interesting. It's an unexpected and near-perfect blend of sludgy stoner rock, traditional doom, heavy metal, and 70s hard rock, one that nods to Pallbearer as often as it bows to Thin Lizzy. It's a logical move—doom metal as a genre has undergone a significant amount of changes since its ancestor first flowed forth from Tony Iommi's fingertips, often for the better (or at least, the more interesting). That evolution has borne deliciously diseased hybrid fruit like sludge, drone, funeral doom, and so on, while exciting developments continue to thrill the fans of more traditional sounds and the old classics abide.

Like many of the genre's most successful names (think YOB, High On Fire, Samothrace, Pallbearer, et al), Khemmis' multi-angled take straddles the two camps—their approach is wholly modern, but their roots are thoroughly aged. Songs like "Ash, Cinder, Smoke" dial up the stoner swagger and harsh barking vocals, while "Serpentine" goes ham with twin guitar noodling and a rafter-baiting croon; "Antediluvian" goes full NOLA, and the closing track is a huge, heart-stopping epic (the vocal harmonies alone will get you). - Noisey

Somewhere at the intersection of traditional doom metal, stoner metal, and sludge lies Denver’s Khemmis. An amalgam of bands such as Paradise Lost, Solitude Aeturnus and perhaps Acid King, Khemmis lay down the heavy riffs, a touch of sludge, a slow to mid-paced tempo, and plenty of melodic clean vocals on Absolution, the debut full-length album from this quartet.

Utilizing a classic approach to straightforward doom metal with riffs and moments of melancholy, Khemmis also have a knack for weaving traditional influences with dueling guitars (Khemmis cite Iron Maiden as an influence, for example) together with a few harsh moments (Ethan from Primitive Man makes a guest appearance). The result is an excellent debut with a great deal of appeal to fans of different genres.

Rating: 4/5 - About.com