Seeking to establish their own sound, the band decided to use an outside producer for the first time, subsequently working with Ben Schiegel during the album's recording at Spider Studios in Cleveland.

After touring in support of their previous album All Hail the Dead (2004), Walls of Jericho began working on new material in December 2005, and spent four or five months writing With Devils Amongst Us All.

[3] Vocalist Candace Kucsulain said that in contrast to All Hail the Dead, which was written and recorded within four months following their 2003 reformation, the band had more time to write material and had gathered ideas for the album for more than two years, in addition to its members having a better understanding of each other.

[19] It showcases a fast, heavy and aggressive sound[15] featuring precise drumming, hardcore breakdowns,[19] and an emphasis on melodic qualities,[15] seen most prominently in "The Haunted" and "No Saving Me".

[9] "No Saving Me" is a power ballad, similar to earlier Walls of Jericho songs "Angel" and "To Be Contined...", about feeling "totally alienated from the real world" on tour.

[34][40][41] From November 30 to December 10, 2006, the band joined the Persistence Tour across Europe with Madball, Sick of It All, Terror, Comeback Kid, Destiny and the Distance.

[42][43] Between February and May 2007, Walls of Jericho supported Kittie on their Funeral for Yesterday Tour across North America, alongside 36 Crazyfists, Dead to Fall and In This Moment.

[41] Walls of Jericho returned to Europe to support Born From Pain from September 13 to October 7, 2007, alongside All Shall Perish, Fear My Thoughts, and From A Second Story Window.

Con Hongos of Alternative Press gave the album a perfect score, stating that it showed Walls of Jericho had reached "the height of their powers [...], and are completely worthy of the world's attention.

felt the album represented "brutal hardcore the way it's meant to be" whilst comparing Kucsulain's "authoritative" vocals favorably to Jamey Jasta of Hatebreed.

[17] Ox-Fanzine's Tobias Ernst and laut.de's Michael Edele both considered the album superior to All Hail the Dead, with the former praising it as "more well-rounded and the consistently high level" and the latter noting Kucsulain's improved delivery.

[48] Though acknowledging that the album was "not groundbreaking", Adrien Begrand of PopMatters felt that its overall "convincing, sincere approach" made it "likeable enough to warrant an enthusiastic recommendation over the usual crop of cookie-cutter [metal] bands".

"[47] Raziq Rauf of Drowned in Sound was more favorable, stating that it helped break up Kucsulain's "relentless and slightly tiresome [vocal] cacophony" and suggested that it may "be a taster of much more melodic things to come.