lukretion Out on November 19th via Nuclear Blast, Deceiver is the fourth LP by US doomsters Khemmis. The Colorado band recorded the new album as a trio after the departure of bass player Daniel Beiers, who was with the band since the beginning. Guitarist Ben Hutcherson took on bass duties on the new record, while Phil Pendergast and Zach Coleman soldiered on behind the mic and the drumkit, respectively. It may be a coincidence, but the line-up change has brought on a subtle sonic evolution in Khemmis’ music, which has taken on a more distinctive progressive flair on the new record.

Deceiver sits in its very own sweet spot, halfway between doom, melodic death metal, and modern progressive metal. The guitar riffs range between the boisterous and the sluggish, depending on the song’s mood, injecting a ton of variety into the record. At times, the guitar melodies bring to mind the classic Scandinavian melodeath sound, like on the gorgeous album opener “Avernal Gate”, where the initial bars after the acoustic intro evoke the golden age of bands like Dark Tranquillity and In Flames. Elsewhere, like on “Shroud of Lethe”, things take a slower turn as downtuned guitars churn out dark, labyrinthine riffs that verge on the death/doom. Coleman’s drumming is no less diverse and engaging, constantly indulging in rich fills and licks that add a propelling sense of urgency to the proceedings. On top of this complex instrumental tapestry the vocals provide a great mix between melodious cleans and menacing growls. Pendergast’s cleans are excellent. His dramatic tone and phrasing remind me a lot of Soen’s vocalist, Joel Ekelöf. Like Ekelöf, Pendergast flawlessly conveys feelings of both darkness and epicness, a perfect combo that never fails to strike a chord with metal audiences.

The comparison with the Swedish progressive metal group I made in the previous paragraph is actually quite fitting, not just for the similarities in the vocal department, but for the overall dark, yet very emotional and ultimately empowering mood that the new material transmits to the listener. There are also analogies in the approach to melodies, which are subtle and subdue, and never “in your face” or too obvious, and the overall slick, modern progressive metal sound that strikes the right balance between complexity and accessibility. This is also evident in the song structures, which are just one step away from the standard verse/chorus repetition, but contain just enough twists and turns to keep one on their toes, guessing what may come next.

All these qualities make Deceiver a very enjoyable album to listen to, flowing easily and almost flawlessly from song to song. The album, however, lacks more tracks like the opener “Avernal Gate”, which is textbook material of how to write an engaging, versatile song that delivers the right amount of build and release, with an amazing chorus. The other songs are based on the same ingredients but fail to reach that elusive climax where all the tension and darkness of the builds is released to a cathartic effect. Instead, these other songs build and build, moving from section to section, but never deliver the big emotional payload that one is expecting. It is somewhat frustrating, especially because lots of the builds are actually very good. These issues are particularly evident in the last section of the album, where “Obsidian Crown” and “The Astral Road” plod their way through, resulting by far the less convincing tracks of the record and closing the album somewhat unspectacularly.

Deceiver is nevertheless a good album, offering plenty of interesting moments and ideas. It’s also a big step forward in terms of sound for Khemmis, who have never sounded so slick and polished. Some may see this as a minus, but I find the new sound a perfect fit for the band’s sophisticated compositions. With a slightly more explosive songwriting, Khemmis may go very far. Now that they have the backing of a label like Nuclear Blast, I can only foresee a prosperous future for these guys.

[Originally written for The Metal Observer]