Review Summary: Overall, Arkham Witch applies heavy metal to their true doom with enthusiasm on Swords Against Death
Arkham Witch has found plenty of different ways to toy with their brand of doomed-out heavy metal since their 2008 formation, so it makes sense for their fourth full-length to throw yet a new curveball into the mix. While the exaggerated bawdiness and Motorhead-esque chugs on “Bringing Down the Thunder” suggest another romp through punk-doom goofiness as exemplified by 2015’s I Am Providence, Swords Against Death puts the band’s classic metal inspirations at the forefront. There’s enough weight to keep the band’s doom roots in sight, but the songwriting keeps to a consistently upbeat pace.
Subsequently, the tracks present a wider variety of moods and styles. Songs like “Storm the Sky (Death’s Dream)” and “Sentinels of Steel” have an almost nautical feel with their jovial jigs while “Hammerblow” is an especially potent chugging anthem. Elsewhere, “Yog-Sothoth” feels like the lone true doom holdout with its mid-tempo stride channeling Dio Sabbath and lyrics hitting on the Lovecraftian narratives of old as “Into the Fray” and “Shieldmaiden” see Thin Lizzy on downers executions with their folky epic metal splendor. The darker vibes on the title track, “Reap Your Soul,” and the closing “Terminus Est” also stand out, sounding like Saint Vitus trying to cover Slayer with their liberal helpings of thrash intensity.
Through it all, the group’s musicianship brings the sort of tight thickness that only the purest of traditional doom can provide. The bass is the driving force with a confidently galloping presence that does well to underscore the guitar’s more precise leads and extra muscle. The vocals hit a similar level of command with their Reagers-esque nasally battle cries supplemented by plenty of gang shouts and whoa-oh’s while the drums do well to keep it all rock-solid yet dexterous.
Overall, Arkham Witch applies heavy metal to their true doom with enthusiasm on Swords Against Death. The songs can admittedly feel very much of their influences but are executed with the sort of earnest fervor that helps give them a distinct flavor. The album also does well in showing off the band’s talents for finding new aspects of their style to explore; I don’t think I’d expect them to become a true doom answer to King Gizzard anytime soon, but it’ll certainly be interesting to see the next path they undertake.
