Nashville psych-rock shapeshifters All Them Witches have never sounded interested in repeating themselves, and House Of Mirrors keeps that streak alive. Their first studio album in six years arrives with the confidence of a band that knows exactly how much space to leave between the notes. The grooves still crawl out of the speakers with that familiar swampy weight, but this time the songs feel more deliberate, more focused, and occasionally more exposed than anything they’ve done before.

Produced by Eddie Spear, the album reportedly came together in less than a week after extensive pre-production, a process guitarist Ben McLeod described as more thorough than any previous All Them Witches record. That preparation shows. House Of Mirrors doesn’t wander so much as it stalks. Every riff feels placed with intention, every rhythm section lock-in sounds earned instead of improvised on the spot.

Tracks like “Red Rocking Chair” and “Starting Line” lean into the band’s hypnotic side, stretching tension until it nearly snaps, while “The Welterweight” punches harder with a wiry urgency that cuts through the haze. Elsewhere, “Aethernet” and “Turn On the Light” drift into stranger territory, pulling together blues, psych rock, doom, and late-night jam-band intuition without sounding stitched together from influences. The album moves like one long head trip through desert highways, dive bars, and half-remembered dreams.

What makes All Them Witches compelling after all these years is their refusal to flatten their sound into something easily marketable. They can lock into a crushing riff for six minutes, then suddenly pivot into something airy and almost meditative. Charles Michael Parks Jr.’s vocals remain understated but magnetic, never overselling the emotion even when the music underneath him threatens to boil over.

House Of Mirrors also marks the band’s first studio album with drummer Christian Powers following the departure of founding member Robby Staebler, and the transition feels seamless. The chemistry that has always defined All Them Witches is still intact, maybe even sharpened by the time away.

After the expansive sprawl of Nothing As The Ideal, this record feels tighter without losing the mystery that made the band stand out in the first place. It’s heavy rock that doesn’t need brute force to make its point. Sometimes it creeps in slowly, hangs in the air, and waits for you to follow it deeper into the fog.