The fourth release from the truer-than-true metal warriors from Keighley. It’s fair to say that I am a big fan of Arkham Witch (and The Lamp of Thoth before them), and I think every one of their releases has been a proper treat. “Swords against Death” sets out it’s true-metal credentials even before the disc has spun, given the tremendous art work, featuring three brave adventurers fighting a giant skeletal reaper, while a keep haunts the background. Excellent foreshadowing for the music to come!

After a very cute introduction (I shan’t spoil it, but if it doesn’t put a smile on your face, there’s something very bleak about your soul), we get into the meat and bones of the thing. The liner notes state that the album was brought to us courtesy of, “COVID-19, builder’s coffee and cheap Polish lager”. Well, whether it was the isolation, the caffeine or the intoxication, “Swords Against Death” really sees Arkham Witch back and focussed as they were on their debut album, “I am Providence”. Opener “Bringing Down the Thunder” is the kind of hard rock infused metal banger that Raven or Demon used to produce, and it has an embarrassment of excellent riffs throughout. “Storm The Sky” (Death’s Dream) is the kind of epic anthem that used to be commonplace in the 80’s, but have been largely forgotten in the time of omni-present double-bass drumming and 320 bpm death metal. “Yog-Sothoth” is an arcane, slightly psychedelic hymn to the great old one that best brings about comparisons to older Lamp of Thoth material.

“Hammerblow” is a muscular track, with perhaps the heaviest main riff the band have ever put out, with a chorus that owes as much to Danzig as it does to Anvil. Title track, “Swords of Death”, with a flourish of “woaaah-ohhhhh-ohhhhh” vocals perfectly manages to capture that special moment when nascent thrash bands owed as much to Judas Priest as they did to Motorhead, and one of their most infectious chorus’s. “Reap Your Soul” is a more threatening, atmospheric stomp where the thrash influences perhaps shine out more clearly than in other tracks. Special mention here for Simon’s vocals – they’ve always been idiosyncratic and utterly unmistakeable, but here he really stretches his approach slightly and adapts to the vibe of the song. “Into the Fray” has the kind of true-metal melodies that would make Cirith Ungol jealous, whilst “Sentinels of Steel” has a high proportion of hard rock in its DNA, being equal parts NWOBHM swagger and Deep Purple-esque swing. “Shieldmaiden” could quite easily have been ripped from the first couple of Skyclad albums, it’s that good – with brilliant dualling guitars and a rousing chorus that makes me want to reach for a flagon of ale. Final track, “Terminus Est” is the perfect closer, with a to-the-point approach to song writing, and a perfect full-stop to the music.

It’s incredibly solid, but more than that it uses the forgotten art of true heavy metal without ever reaching into self-referential parody. So sure, the picture in the middle of the album art depicting the band with archaic weaponry might be a bit daft, but that’s not to undo anything that’s within the album itself. Proper metal, done proper. Infectious, authentic and enjoyable.

(9/10 Chris Davison)

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