Review Summary: All Them Witches blends elements of blues, psychedelic, and stoner rock into an atmospheric, well-composed album.
Drawing from influences of blues, psychedelic, and stoner rock, All Them Witches’ Lightning At The Door
is a masterclass in atmosphere and songwriting. Each track flows seamlessly into the next, with surreal spoken-word opener Funeral For a Great Drunken Bird
shifting into the stomping, thrashing When God Comes Back
before The Marriage of Coyote Woman
slinks sly and mournful over the soundscape. The performances, though understated, are nonetheless perfect; each and every instrument is exactly where it should be: from the quiet, restless, at times jazz-inspired drums to a guitar alternating between the thick chords of stoner rock and the surgical precision of the blues. Vocalist Michael Parks Jr. manages to be everything at once – a prophet foretelling something monstrous and unimaginable on When God Comes Back
, a sly, winking romantic on Charles William
, or even a man simply muttering absentmindedly to himself on the surrealistic, monolithic closer Mountain
. Rarely do albums so distinctly convey a time and place as Lightning At The Door
does. I don’t often listen to albums in order or all the way through, but for Lightning At The Door
I make an exception – this is less an album than it is a landscape, and everything is the way it is for a reason.