Witch House

Witch House has been an intriguing and unique genre of electronic music since the late 2000s. It is an emerging genre that combines dark elements of various genres such as industrial, ambient, and experimental music. The history of Witch House is relatively short compared to other music genres, but it has had a significant impact on the underground electronic scene and has gained cult-like status among fans. Witch House emerged from a small group of musicians and art collectives in the late 2000s in America. One of the most influential collectives was mxlxpxly, which was founded in 2006 by Travis Egedy (Pictureplane) and his friends from Denver, Colorado. They were heavily influenced by European Witch House pioneers like Salem, oOoOO, and White Ring. This collective stated that their music was not necessarily about witches or witchcraft, but a way to represent complex emotions and the desire to experiment with music and art. The term “Witch House” was coined in 2009 by Travis Egedy, who used it as a tag for a mixtape he made. This mixtape featured the earliest Witch House tracks by Salem, White Ring, and oOoOO. The name caught on quickly, and soon most of the artists who created music similar to Egedy’s began to describe themselves as Witch House musicians. Witch House music is characterized by its slowed-down BPM, distorted soundscapes, haunting vocals, and occult imagery. The music often features extreme use of reverb and delay effects, which give it a haunting and otherworldly sound. The lyrics are usually obscure and have deep meaning. The occult imagery and references to witchcraft and supernatural phenomena are also common in Witch House. The genre has drawn influence from a wide range of other genres, such as shoegaze, industrial, hip-hop, and IDM. In the early years of Witch House, the genre gained a cult-like status among fans who were enamored by its dark themes and experimental approach to music. Online communities and message boards began to emerge, where musicians and fans came together to share new music, exchange ideas and promote events. Online radio shows such as Tundra Dubs were influential in spreading the word about Witch House, promoting releases, and hosting guest mixes. The rise of Witch House coincided with the emergence of the so-called “Tumblr movement,” which saw the genre become popular and mainstream on the internet. This movement was characterized by a DIY mentality and a focus on aesthetic and visuals. It gave rise to many artists who became synonymous with the Witch House scene, such as Crystal Castles and Grimes. Today, Witch House remains an underground genre, but it has grown beyond its early beginnings and has influenced other genres. Many of the genre’s early pioneers have moved on to create music in other genres, but their influence can still be seen in the music of artists across the electronic spectrum.

Salem: Originating from Traverse City, Michigan, Salem is considered the pioneer of witch house. Their unique sound combines elements of industrial, shoegaze, and dark ambient, creating a haunting atmosphere that captures the essence of the genre. White Ring: White Ring is a duo from New York, known for their blend of witch house, shoegaze, and industrial. Their music is characterized by ethereal vocals and distorted synths, creating a dream:like soundscape that is simultaneously dark and beautiful. Ritualz: Hailing from Mexico, Ritualz is known for their infectious beats and hypnotic melodies that draw on influences ranging from trance to witch house. Their music has a raw, unpolished quality that adds to its visceral impact. Crim3s: Crim3s, comprised of British duo Sadie and Frost, infuse elements of hardcore punk and noise into their witch house sound. Their music is heavily influenced by horror films and offers a haunting yet addictive listening experience. oOoOO: oOoOO, the project of San Francisco:based producer Christopher Dexter Greenspan, is characterized by its use of chopped up vocals, hypnotic synth:lines, and bass:heavy beats. His music has been described as a blend of witch house and trip:hop. Blvck Ceiling: Blvck Ceiling, the pseudonym of Florida:based producer Dan Ocean, creates dark and sinister soundscapes that draw on witch house, industrial, and hip:hop. His music explores themes of darkness, decay, and death through distorted samples and moody synths. Mater Suspiria Vision: Originating from Italy, Mater Suspiria Vision creates experimental soundscapes that fuse witch house with elements of noise, drone, and ambient. Their music is often accompanied by atmospheric visuals that enhance the haunting and surreal atmosphere. Lance Neptune: Lance Neptune is an American producer known for his atmospheric and experimental approach to witch house. His music combines elements of dark ambient and techno with eerie vocal samples, creating a haunting soundscape that is both unsettling and captivating. Sidewalks and Skeletons: Sidewalks and Skeletons is the project of UK:based producer Jake Lee. His music blends witch house with elements of trap and hip:hop, creating a bass:heavy and atmospheric sound that is perfect for late:night listening. CRCKSMRF: CRCKSMRF is a Los Angeles:based producer known for his unique blend of witch house, ambient, and hip:hop. His music is characterized by its minimalist approach, often consisting of little more than a single beat and a haunting synth:line, creating a bleak and unsettling atmosphere.

1. Salem - "King Night" 2. oOoOO - "oOoOO" 3. Balam Acab - "See Birds" 4. White Ring - "Black Earth That Made Me" 5. Holy Other - "Held" 6. Mater Suspiria Vision - "Second Coming" 7. Creep - "Days" 8. ▲R▲NGE JESUS - "DEMO TAPE" 9. Crosses - "Crosses †" 10. CRIM3S - "Stay Ugly" 11. ▲LEX - "Live From The Unknown Show" 12. The Haxan Cloak - "Excavation" 13. Blvck Ceiling - "WVFFLIFE" 14. Mystical Fullmoon - "Chosen By The Moon" 15. Water Borders - "Harbored Mantras" 16. GR†LLGR†LL - "Drugzzz" 17. Teehn Bwitches - "Girls Just Wanna Have Fun" 18. †‡† - "†‡† - EP" 19. o F F Love - "Ff Love" 20. Clams Casino - "Rainforest" 21. Gvcci Hvcci - "Gvcci Hvcci" 22. Pictureplane - "Thee Physical" 23. Modern Witch - "Hollywood" 24. ▲NGST - "BLVCK V†ILS" 25. Witch House LLC - "Original Soundtrack"

One of the earliest written accounts of Witch House can be found in the book "Haunted Sonnets for the Crucified" by Mykki Blanco, a rapper, poet, and performance artist. In the book, Blanco explores themes of gender identity, religion, and sexuality through a combination of verse, prose, and illustrations. One section of the book, titled "Occult Trill," features a list of what Blanco describes as "the most exciting bands in the world right now," including Salem, oOoOO, and Balam Acab. Blanco writes that these bands "fuse the landscapes of darkness and mysticism with the desolation of suburban decay, creating a unique sound that is both contemporary and anachronistic." Another book that touches upon Witch House is "Sinister Resonance: The Mediumship of the Listener" by David Toop. The book explores the relationship between sound and the metaphysical, arguing that music can function as a conduit for trans-physical experiences. Toop discusses the music of Salem in particular, noting that their sampling of children's voices, religious broadcasts, and other "found sounds" creates a sense of "disturbing nostalgia" that evokes memories and emotions from the past. Toop also notes the role of the internet in the dissemination and evolution of Witch House, writing that "the non-hierarchical, non-linear structure of the internet encourages and rewards curious, passionate, and obsessive explorations of musical subcultures." In addition to written sources, Witch House has attracted attention from various music journalists and critics. Reynolds notes that while Witch House borrows elements from genres like shoegaze, goth, and industrial, it also possesses a unique aesthetic and mood that sets it apart. He writes that "the overall effect of Witch House is more hallucinatory than any of the genres it borrows from, like a fever dream of the past as a half-remembered alternate present." Other critics, however, have been less enthusiastic about the genre. Writing for Pitchfork in 2010, Mark Richardson gave Salem's debut album "King Night" a 4.5 out of 10 rating, criticizing its lack of songcraft and coherence. Despite the varying opinions on Witch House, there are several quotes that encapsulate the fascination and allure of the genre. In a 2011 interview with The Fader, Travis Egedy (Pictureplane) describes Witch House as "something that was needed, that was desired, by a lot of people who didn't have a voice or an outlet." Similarly, in a 2010 interview with The Guardian, Salem member John Holland stated that "people want something that's not immediately satisfying, they want something that they can play over and over again that's going to upset them and haunt them and make them feel something."

Witch House emerged during a time when young people around the world were experiencing social and economic uncertainty. The widespread growth of social media outlets meant that many young people felt more connected than ever to each other, while also feeling isolated from their physical communities. Witch House music provided a soundtrack to this sense of isolation. Themes of melancholy and existential angst reflected the emotional scape of many young people at the time. There was also a strong emphasis on the occult and supernatural in the culture surrounding Witch House. The term "witch" was often used as a metaphor for the subversive and mysterious contents of the music. This cultural trend was reflected not only in the music but in other aspects of popular culture such as literature, movies, and fashion. By embracing the myth of the witch, Witch House subculture shared an interest in the dark arts and the occult with a broader alternative cultural movement. Witch House music was heavily influenced by a wide range of cultural movements. Industrial music, on which Witch House drew heavily, had its roots in the late 1970s. The industrial movement was characterised by its use of abrasive sounds, spoken word samples, and an often political message. Witch House adopted much of this ethos, but also drew heavily on the musical legacies of trip hop, ambient, and electronica. In addition to this musical foundation, Witch House drew heavily on gothic cultural traditions. The gothic aesthetic is characterised by dark, morbid themes, and frequently incorporates elements of horror. Some of the most prominent bands in the Witch House genre, such as Salem or White Ring, were also influenced by goth music and fashion. The combination of these disparate influences led to a musical genre that was unique in its ability to conjure feelings of unease and dissonance in its listeners. Witch House music was profoundly influenced by the rise of digital music production technologies. The internet, and platforms like Myspace and Soundcloud, provided emerging artists with an easily accessible platform to share their music with a global audience. This democratisation of music production meant that anyone with a laptop and a few pieces of software could create their own music. The internet was also crucial in the development and consolidation of the Witch House subculture. Online forums and blogs facilitated communication between fans and helped spread the popularity of the genre. Artists in the Witch House genre were often highly collaborative, and the internet provided a space for them to connect and work with one another regardless of their physical location.