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.
Is it just me who wonders when Joe Bonamassa finds the time to sleep? Even my sniffer dog has started to lose track of the amount of music JoBo’s put out in recent times, but when you’re head honcho of an entire genre, I guess you need to shed a prolific existence.
If my maths is correct (which I wouldn’t count on), I believe this to be Joey B’s sixth album in the past four years (as long as you don’t chalk off live recordings and Black Country Communion’s V).
Given we’re almost halfway through 2026, Bonamassa fans could be pardoned for getting a bit prickly about the absence of an album to date, but the guitar virtuoso and workaholic has come through with this corking set honoring one of his musical heroes and primary guitar influences — Rory Gallagher.
But this isn’t any ordinary project. Rory’s shadow (play) looms large on this 14-song LP compiled from three sold-out nights out in Cork (Gallagher’s hometown). The setting adds emotional weight to The Spirit Of Rory, reuniting his legacy, music, place, and people. Rather than try and reinvent Rory’s songs, JoBo has sidestepped the unwanted insignia of sinner boy by ‘approaching the catalog with humility and reverence.’
The Irishman always came into his own on the stage, establishing a fierce reputation as a tireless performer with a gritty and raw edge. Capturing the adrenaline and excitement of his live performances (I strongly recommend giving Irish Tour ’74 a listen) was never going to be easy, but it’s clear Bonamassa and his band (alongside the rowdy, raucous crowd) did Cork’s favorite son proud.
What starts off like a violin concerto, soon bursts into an explosive rendition of “Tattoo’d Lady.” While I agree with diehard ‘Rory-ites’ that their man was a stronger/more powerful singer, Joe can certainly walk away with his head held high.
On “Bullfrog Blues,” there’s fire to his Strat playing that this blistering rock ‘n’ roll juice demands, with the dial-down solo outstanding and the crescendo spine-tingling. If you want a masterclass in how to pay homage to your heroes, the magnificent arranged (both vocally and instrumentally) “A Million Miles Away” sees Bonamassa’s beloved backing singer Jade MacRae bring her trademark passion to the poetic existentialist masterpiece. While it’s virtually impossible to copy Rory note for note, given his inventive disposition to never play the same track the same way, Bonamassa’s solo is very much true to his own inimitable style. And what’s not to love about the funky bassline?
Anyone who has followed Bonamassa’s career will know there’s not much he can’t turn his famed guitar hands to. See how he lets his slide notes sing on the epic “Who’s That Coming?” or the ferocity and flow he and his on-fire outfit spill all over “Back On My Stompin’ Ground.” The captivating rhythm and Bonamassa’s inescapable lust for the blues come through on this barrelling show closer.
All of Rory’s life energy was poured into his music, with his soulful blues feel and unpretentious warmth shining in every song. In many ways, he defined the working man’s blues, with his heartfelt, passionate performances a large part of his DNA. Joe was cut from the same cloth — industrious and an ingenious, tasty guitarist in his own right.
There will only ever be one Rory Gallagher, but when a fellow guitar great takes the time to inject their own intensity and musical voice to one of his biggest sources of inspiration, we should just enjoy it. Not forgetting, it puts Rory’s name up in lights to a new generation.
All in all, it’s an enthralling and energetic contribution to Rory’s ongoing legacy.
The Review: 8/10
Can’t Miss Tracks
– Who’s That Coming? – A Million Miles Away – As The Crow Flies
Today, Shadow Kingdom Records announces June 19th as the international release date for the highly anticipated seventh album of America’s Destructor, Tales of Glory, on CD and vinyl LP formats. Hailing from the steel town of Cleveland, Ohio, Destructor began their saga in 1984. Their debut album, 1985’s Maximum Destruction, would soon become an underground classic, spreading their signature power-thrash overseas with a license […]
Swedish death metal band Februus are back with their highly awaited new album. It’s proggy death metal that veers off into different dimensions altogether, making for a very interesting albeit weird listen. As someone commented on YouTube, listening to their 5-min song feels like listening to an album – there’s indeed so much in there! You can listen […]
Professional headphones matter because mixing and mastering depend on accuracy, detail, stereo placement, and translation.
Studio headphones should reveal balance problems, harsh highs, low-end buildup, vocal issues, edits, distortion, and spatial placement without hyping the sound.
Consumer headphones often boost bass and treble for excitement. Mixing headphones should give a flatter, more honest picture of the audio.
The best Best results come when an engineer knows a headphone well.
Buying Guide
Open-back headphones are best for mixing, mastering, stereo imaging, and long sessions.
Closed-back headphones are best for recording, tracking, editing, travel, and noisy rooms.
Closed-back designs reduce leakage and help prevent mic bleed, but they can create a narrower stereo image and stronger bass impact that may not be fully accurate.
Open-back designs leak sound, so they are not ideal near microphones. Their wider stereo image and relative frequency neutrality make them better for mixing and mastering.
Active noise-canceling headphones should usually be avoided for studio mixing because processing can alter frequency response and affect judgment.
Frequency response and neutrality
A neutral presentation helps mixes translate more reliably across different playback systems|Shutterstock
Wide frequency range on a spec sheet does not prove accuracy.
Tonal balance, translation, detail, bass control, midrange clarity, stereo placement, and treble smoothness matter more.
Frequency-response curves can help show if bass, mids, or highs are boosted or reduced.
Neutrality is important, but slightly colored headphones can still be useful. Sony MDR-7506 has a bright upper range that can expose harshness, sibilance, high-frequency problems, edits, and subtle flaws.
Producers should test headphones with familiar songs. Listen for tight bass, clear vocals, natural mids, smooth treble, stable stereo placement, and fatigue after extended use.
Comfort for long sessions
Comfort matters because producers often wear headphones for hours.
Key factors include weight, clamp force, pad material, breathability, headband pressure, ear-cup shape, and replaceable parts.
Open-back headphones often reduce fatigue because they feel more breathable.
Closed-back headphones can feel warmer and more pressurized over time.
Beginners often overlook comfort, but an uncomfortable headphone can hurt focus and slow down decisions.
Impedance and amplification
Proper amplification allows professional headphones to perform at their intended level|Shutterstock
Impedance affects how easy a headphone is to power.
Low-impedance models under 80 ohms, including ATH-M50x, DT 900 Pro X, and Sony MDR-7506, usually work with common audio interfaces or computers.
High-impedance models often need a stronger audio interface or headphone amp.
Premium audio cables, such as dragon cables, are not a replacement for proper amplification, but sturdy, well-shielded cables can improve reliability in a studio setup.
Detachable cables are also useful because they are easier to replace, route, and pack for mobile sessions.
Models at 250 ohms or higher may sound quiet, thin, or less controlled without enough power.
ATH-R70x and ATH-R70xa have very high impedance, so smartphones and small USB-powered interfaces may not power them properly.
1. Sennheiser HD 490 Pro
Sennheiser HD 490 Pro
Type: Open-back
Best for: Professional mixing and mastering, detailed stereo work, long studio sessions
Driver size: 38mm
Frequency response: 5Hz to 36.1kHz
Impedance: 130 ohms
Sensitivity: 96 dB SPL
Total harmonic distortion: under 0.2 percent at 1kHz and 100dB SPL
It delivers detailed sound, excellent comfort, balanced lows, strong stereo detail, and a flat response through key low and midrange areas. Testing data notes flat behavior around 50Hz to 1.5kHz, plus smooth low-end performance for critical mix decisions.
Oval-shaped ear cups improve comfort. Two pad sets support production and mixing tasks. Cable connection on either ear cup improves workflow.
Pros
Cons
Balanced frequency response
Open-back leakage
Excellent detail retrieval
Not ideal for recording vocals
Comfortable oval ear cups
Benefits with a quality interface or amp
Swappable ear pads
Not very portable
Cable plugs into either ear cup
Case takes up space
Rugged carry case
Ideal user
Serious producers, engineers, and mastering-focused home studios that need an accurate open-back reference.
2. Beyerdynamic DT 900 Pro X
Beyerdynamic DT 900 Pro X
Type: Open-back
Best for: Home studios, production teams, engineers who do not want a separate amp
ATH-R70x weighs only 210g, making it one of the lightest professional open-back options.
Sound is balanced, detailed, dynamic, and spacious enough for confident mixing and mastering.
High 470-ohm impedance requires a strong headphone amp or capable interface.
Pros
Cons
Very lightweight
Needs a good headphone amp
Natural tonal balance
Not ideal for phones or small USB-powered interfaces
Excellent comfort
Headband design may not suit every user
Wide stereo image
Strong dynamics and detail
Ideal user
Engineers who prioritize comfort and accuracy during long sessions and already own proper amplification.
4. Sennheiser HD 650
Sennheiser HD 650
Type: Open-back
Best for: Natural mids, stereo imaging, mastering checks
Frequency response: 10Hz to 41kHz
Impedance: 300 ohms
Build notes: Open-back design with significant sound bleed
Comfort notes: Lightweight build with velvet pads
Sennheiser HD 650 is a trusted reference headphone for mixing and mastering.
It has neutral balance, natural mids and highs, present but controlled bass, and excellent stereo imaging.
Its midrange works especially well for vocals, guitars, keys, strings, and acoustic instruments.
300-ohm impedance means proper amplification is important.
Pros
Cons
Smooth, natural midrange
Requires adequate amplification
Excellent stereo image
Bass may feel restrained
Comfortable and lightweight
Open-back leakage makes recording difficult
Trusted reference sound
Clear presentation
Ideal user
Mix and mastering engineers who want a proven reference headphone and have proper amplification.
5. AKG K702
AKG K702
Type: Open-back
Best for: Spatial decisions, instrument placement, reverb and delay judgment
Frequency response: 10Hz to 39.8kHz
Impedance: 62 ohms
Cable: Detachable
Pads: Velvet
Design note: Austrian AKG model
AKG K702 is known for wide stereo imaging, strong detail, and accurate depth.
It helps with panning, reverb tails, delays, instrument placement, dense arrangements, orchestral work, and ambient production.
Although impedance is 62 ohms, a good headphone amp can improve performance.
Pros
Cons
Very wide soundstage
Bass is less emphasized
Excellent detail and separation
Performs best with a good headphone amp
Comfortable for long use
Not suitable for tracking vocals
Good for depth and placement decisions
Some USB-powered interfaces may limit quality
Detachable cable
Comfortable velvet pads
Ideal user
Producers working on dense mixes, orchestral music, ambient music, or projects where space and stereo placement matter.
6. Sony MDR-7506
Type: Closed-back
Best for: Budget studios, editing, tracking, harshness detection, portable work
Driver size: 40mm
Frequency response: 10Hz to 20kHz
Impedance: 63 ohms
Sensitivity: 106 dB/W/m
Cable length: 3m / 9.8ft
Weight: 229g to 230g
Amp: No
Approximate price: $80, often around $100
Sony MDR-7506 is a long-standing budget studio standard.
It has been sold since 1991 and still appears on current studio headphone lists because of value, durability, compact design, and useful reference sound.
Its upper mids and treble can reveal percussion, vocal, guitar detail, harshness, sibilance, distortion, and high-end issues. Bass is tight and audible, but not strongly hyped.
Comfort is not its strongest trait. Small cups, heat buildup, and firm clamp can become tiring during longer sessions.
Pros
Cons
Affordable
Not flat enough for serious mastering
Lightweight and durable
Treble can sound aggressive
Revealing upper mids and highs
Coiled non-detachable cable can be inconvenient
Good isolation for tracking and editing
Limited headband cushioning
Useful for exposing harshness and sibilance
Less detailed than premium open-back models
Foldable for travel and storage
Small cups can create fatigue
Strong value under $100
Ideal user
Beginners, podcasters, editors, tracking engineers, broadcast users, and producers needing a dependable second reference.
7. Audio-Technica ATH-M50x: Best Closed-Back All-Rounder
Type: Closed-back
Best for: Recording, monitoring, beginner production, hybrid studio use
Driver size: 45mm
Frequency response: 15Hz to 28kHz
Impedance: 38 ohms
Weight: 285g
Approximate price: $150
Design note: Closed-back isolation
Cable options: Straight and coiled cable options included
Audio-Technica ATH-M50x is a practical closed-back workhorse for recording, monitoring, portability, and beginner production.
It balances enjoyable listening with a more analytical sound, making it a strong starter headphone for new mix engineers.
Rotating and folding ear cups improve transport and collaboration. The build is sturdy, the ear pads have strong cushioning, and the clamp is secure without being as intense as the Sony MDR-7506.
Low end can feel powerful, low mids dip, and highs around 5kHz to 8kHz can feel reserved, so users should check harshness and sibilance on another system.
Pros
Cons
Good isolation
Not perfectly flat
Durable and portable
Closed-back soundstage is less natural than open-back models
Easy to drive
Bass and upper mids may be colored
Works for recording and general production
Faux-leather pads can get warm over time
Beginner-friendly balance
Reserved 5kHz to 8kHz range may hide harshness
Useful detachable cable options
Foldable ear cups
Good midrange detail
Solid stereo separation for the price
Ideal user
Beginners, vocal recording setups, mobile producers, and users who need one flexible closed-back pair for recording, monitoring, and early-stage mixing.
Closing Thoughts
Open-back headphones are usually best for serious mixing and mastering because they offer wider stereo imaging, a more natural soundstage, and flatter frequency behavior.
Closed-back headphones are better for recording, editing, broadcast work, noisy rooms, portable production, and second-reference checks.
Headphones help in untreated rooms, but mixes should still be checked on speakers, earbuds, car audio, and small consumer devices.
Legendary mincecore pioneers AGATHOCLES have announced reissue of their fourth studio album Thanks For Your Hostility. The release is set to arrive soon via Selfmadegod Records. The fourth full-length by AGx, recorded in 1996 at the legendary Soundshape Studio in Belgium and originally released by German label Morbid Records, will be reissued to mark its 30th anniversary. Thanks For […]
