Freewave's Genre of The Day Exploration

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 24 May 2013 14:27

oh yeah what should i get up here next? requests?
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Re: Freewave's Genre of The Day Exploration

Postby Lying Pink » 24 May 2013 19:39

Goth rock, EBM or trip-hop would be cool. Then again, everything you've posted so far has been awesome, so basically anything and everything would be cool :)
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 25 May 2013 07:30

I re my old request, Doomcore xD
Or Trap :I
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 25 May 2013 12:40

eery wrote:I support making one on trap, as I still dont understand what trap is.


Yeah Trap is something i need to invest time into and make a set on (maybe today as it's my slow day at work). I'm not a big supporter of it but since I actually have a track coming that's going to have some elements of Trap I might as well get to know it better (even if it's a cheap one night stand).

Goth Rock is next and I'll tackle some post-punk/ industrial /ebm next week.
Last edited by Freewave on 25 May 2013 13:21, edited 1 time in total.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 25 May 2013 13:17

Ok back in black, here is

Gothic Rock

Gothic rock (also referred to as goth rock or simply goth) is a musical subgenre of alternative rock that formed during the late 1970s. Gothic rock bands grew from the strong ties they had to the English Punk rock and emerging from the Post-Punk scenes. The genre itself was defined as a separate movement from punk rock during the early 1980s largely due to the significant stylistic divergences of the movement; gothic rock, as opposed to punk, combines dark, often keyboard-heavy music with introspective and depressing lyrics. Notable gothic rock bands include Bauhaus, The Cure, Siouxsie & the Banshees, and The Sisters of Mercy, among many others. Gothic rock gave rise to a broader goth subculture that includes clubs, various fashion trends and numerous publications that grew in popularity into the 1980s and survives today.

Main List

Hightlights


Bauhaus - Bela Lugosi's Dead (1979) [Single]

1979's "Bela Lugosi's Dead" was the kickoff anthem Gothic tune and were one of the most essential Goth bands. At 9 minutes its a sprawling tribute to the screen legend and sets the style for a genre to come.




The Sisters of Mercy - Alice(1982) [Single]

The Sisters of Mercy had a large amount success with early singles and Ep's before their first First and Last and Always and the revised group and sound of Floodland. This was and is still one of the signature tracks. Founder Andrew Eldritch always made Rock the key part of their Gothic Rock sound and embraced the Gothic mystique and look. Their second album Floodland might be their best album and further evolved the sound as well feaured a revised band lineup from its original state.




The Cure "One Hundred Years" from Pornography (1982)

"One Hundred Years" is the lead off track for one of the most essential Goth Albums, Pornography. Always firring an early Post-Punk sound ,The Cure truly embraced a gothic sound on this album (and in select songs since then) but then moved on the poppier and less genre constricting Alternative Rock. To say they are a "goth band" is somewhat true but does little to describe how truly diverse they were over a lengthy career.




Siouxsie and the Banshees - Dazzle (1984) [Single]

Siouxsie had been around since since the Sex Pistols early days and quickly followed in a Post-Punk sound. She later moved into more Gothic territory with Juju and became the lone key female led act, mirroring the Cure's loose sounds and interests. 1984's dense "Dazzle" was a lush and majestic anthem and was featured in goth clubs routinely. (jesus it still gives me chills)



Spent many a sunday night at a few goth clubs over my years (should post my clubbing jacket hanging on my wall sometime). One of the best things is that besides the really slow tunes many were fast paced enough that you could dance at the fast 140-160'ish bpm or at the half speed if you wanted (just like dubstep and drum & bass did as well).
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Re: Freewave's Genre of The Day Exploration

Postby ganondox » 26 May 2013 13:37

Oh, Gothic Metal, because apparently it has nothing to do with Gothic Rock.
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 26 May 2013 14:50

YES EBM FIRST!
And maybe take Aggrotech/Hellektro with it, since I don't know when exactly it is Aggrotech/Hellektro or EBM (apparently there's a difference yea).
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 28 May 2013 01:38

^ As far as I am aware the biggest difference is that EBM is sparse/minimalistic compared to Electro-Industrial (Hellektro's parent genre) and EBM is a lot closer to its synthpunk/pop roots.

While I'm all up for EBM and the like, I propose that you post-punk first, as it is a lot closer musically to gothic rock.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 29 May 2013 16:12

Good point. We've done punk, we've done gothic rock, let's do the post-punk that fit inbetween today....

Post-Punk is a genre that arose in late 70s the aftermath of punk rock, and the genre retains its roots in the punk movement but is more introverted, complex and experimental. Post-punk laid the groundwork for alternative rock by broadening the range of punk and underground music, incorporating elements of Krautrock (particularly the use of synthesizers and extensive repetition), Jamaican dub music (specifically in bass guitar), American funk, studio experimentation, and even punk's traditional polar opposite, disco, into the genre. It found a firm place in the 1980s indie scene, and led to the development of genres such as gothic rock, industrial music and alternative rock."

Here's the full 6 disc set

Highlights

Public Image Ltd - Public Image


Gang of Four - At Home He's a Tourist


Joy Division - Transmission


The Cure - Primary


The Chameleons - In Shreds


Interpol - PDA


Did my fav track from each disc. Plenty of great latter era Post Punk Revival in the 00's (Interpol, Bloc PArty, British Sea Power, the Editors, Franz Ferdinand, the National)
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Re: Freewave's Genre of The Day Exploration

Postby ganondox » 31 May 2013 08:32

I really like "In Shreds".
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 31 May 2013 09:05

We've covered a lot of the genres surrounding it but let's do the first wave of industrial before getting into latter areas like ebm and such. Industrial is a lot like Dubstep in that its a parent genre with most stuff departing from how the first wave sounded. I like to think of industrial as a happy parent genre with many different kids who did more well more known and danceable music while some angrily think of Industrial as something a lot more specific and discounting the later waves (just like uk dubstep purists).
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 31 May 2013 09:48

Industrial (1st Wave)

The industrial music genre takes its name from Industrial Records, a label founded by industrial pioneers Throbbing Gristle in the mid-70's. First wave fizzled out in the early to mid-80's, making way for bands that were more electronic and beat-driven than these heavily experimental predecessors. When industrial music began, it was as much a visual assault as it was an auditory assault, with many groups (most notably Throbbing Gristle) putting equal emphasis on live performance and sonic experimentation.

Full 2 Disc List

Highlights

Throbbing Gristle - "20 Jazz Funk Greats" from 20 Jazz Funk Greats (1979)

"Considered the essential and most consistent work by Throbbing Gristle, 20 Jazz Funk Greats is easily one of the strangest albums I've ever listened to. A massive influence on industrial music to come, it's an odd melting pot of punk, synth, electronica and noise that comes together with monstrous results. Some of these songs are genuinely unsettling, and it's here in which the album comes into it's own, and achieves a level of heaviness and darkness unprecented for 1979. The first few tracks start off very minimalist, with only the occasional whisper of "yeah" or a smacking of lips accompanied by a synth wail on tracks like "Beachy Head". Things start to get more involving on "Still Walking", or the erratic "Convincing People", with more use of "instruments" coming in. The album has a sort of buildup thing going on, starting off minimalist and gathering parts as you progress through it. "Hot on the Heels of Love" is quite funky, and "Persuasion" is really unsettling, as is the atmospheric "Walkabout". "What a day" is where it starts to get scary, with a lot of screaming and wailing and gnashing of teeth, like music being bellowed from hell itself. "Six Six Sixties" is angry and coarse, like listening to something being grinded down. And of course, by the "Discipline" duo, things have gone completely off the wall, with the sounds of Killing Joke & Swans beginning to take shape. So I'm not sure who this album is for, as this is like the prehistoric man equivalent of industrial rock, in that it has similar components but sounds totally different. In that regard, however, it's well worth a listen if you're a fan of any kind of electronic music, and it's fascinating to hear an album so uncompromising, dark and melancholy for 1979. "~metroidvania




Cabaret Voltaire - "Photophobia" from Mix-Up (1979)

"Cabaret Voltaire were the grim Northern counterpart to Throbbing Gristle's London Death Factory screech and squallor, and it is well known that these kindred spirits both birthed and pioneered the Industrial music genre. Whereas TG were either willfully repellent and menacing or electronically ethereal, the Cabs had an altogether more seductive aspect to there menacing music, which seemed to slither with a subtle sexuality.

This was achieved mostly by their incorporating of funk and dub reggae, which would gradually move to the forefront of their sound as their career progressed. Another influencial musical factor loomed much larger during this, the initial stages of their discography: German Krautrock. They would willfully admit a heavy debt to both Can and Faust and the improvisational techniques both bands employed.

With these influences in mind, it's much easier to grasp the mindset and intent of their debut full-length Mix-Up. What may sound like aimless experimentation for the sake of it, will reveal itself as hypnotic and instinctual, yet disciplined and thought out musical innovation. "~bennyshambles




Einstürzende Neubauten - "Steh auf Berlin" from Kollaps (1981)

Kollaps strikes me as their prime, full of ideas met with effortless offhanded execution. Many prefer the more polished, later version of these Central European Collapsoids, but the dancey drum machine sound of their more glossily-produced later recordings feels programmed for Eurogoth dance floors when compared with their earlier, pre-CD records like this one. Much of the the later, slicker stuff still has power, but when they became proficient they started sounding like they were waiting too earnestly to have a documentary made about them.

In some ways, I think there's an intriguing difference to draw between the Rolling Stones and Einsturzende Neubauten. While the Stones were stealing blues riffs and prancing to the pretense of being bad boys, Imploding New Buildings ran power tools, banged on surfaces, and screamed (albeit at no mortal risk to their physical selves). There were no received Delta blues in early Einsturzende, because the Delta has no place in places like Essen. The Postwar German blues per EN didn't have to be channelled (read: forged) through the American South, as the band was clearheaded enough to catharsize its own surrounding national chaos, rather than stealing someone else's blues like the Stones who borrowed their anger from the cotton fields of the Delta, tacked on some British dancehall traditions, and had lawyers patent their legend."~Leland




Coil- "Blood from the Air" from Horse Rotorvator (1986)

"A bit of a milestone in the British esoteric underground, the album where Coil threw off their shackles, broke free from the shadow of Psychic TV, and released an album with a vision that was truly Coil.

As you can tell from the song titles, Coil were less concerned with the occult at this point, and had their feet fully grounded in the twin obsessions of sex and death. Not that the music is either 'scary' or sexy, the album is a twisted collection of ideas seemingly thrown together at random, which somehow landed in a coherent shape. Like Jackson Pollock scattering his oils across the canvas, so Coil weave sounds together, creating an action album, full of movement and vitality. There's the punk and sex of "Anal Staircase", the sultry heat of "Slur", the gorgeous baroque strings of "Ostia", the off-key brass band weirdness of "Herald", the poetry of Leonard Cohen's "Who By Fire", the soundtrack to death of "The Golden Section". Each track bounces off at a tangent, leading the listener to another emotion, another mental picture, without expectation or preconception.

This is a band bursting with ideas, and I'd bet they had little rhyme or reason behind the album as a whole. It's a hotch-potch, but a glorious one at that. Inventive, eclectic and bizarre, a glorious treat for those with open minds and open ears."~DarknessFish

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 01 Jun 2013 13:30

Guess I'll do 1st wave ebm next. Little buffer between videos in here.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 01 Jun 2013 13:51

"EBM, or Electronic Body Music is an offshoot of Industrial, and one of the first sub-genres to splinter off from the parent genre to help define the sounds of the Second Wave. Front 242 spearheaded the movement in the early 80s, by creating music that combines elements of early electronic pioneers Kraftwerk, atmosphere and experimentation of first-wave industrial bands Throbbing Gristle and Portion Control, and merges them both with experimental 'electronic punk' pioneers Deutsch-Amerikanische Freundschaft (DAF). EBM almost exclusively uses electronic instrumentation, 'clean' vocal stylings, and clean production and sound. In its purest form, it tends to have fewer layers than other second-wave industrial styles, at least until the early 90s. Front 242's EBM was very popular in their home country Belgium, and quickly spread around Europe, then to North America and the rest of the world, reaching its peak in popularity during the years 89-92. By the middle 90s, it had started to rapidly break from its basic structure, splitting into softer, more melodic style EBM (Futurepop), or harsher style EBM, influenced by both Techno and Electro-Industrial music (Harsh EBM or Aggrotech), and nearly disappeared altogether. "

Full List

Nitzer Ebb - Join in the Chant (1987) [Single]

By 1987, most of the trademark elements of EBM had almost been set. England's 'Nitzer Ebb' release their first full-length album (having released a couple of singles and an EP since the creation of the band in 82) and "Join In The Chant" was one of two major club hits from it. With their minimal structure, heavy bass, and punkish vocals, NE helped forge the direction EBM would take for years to come.




A Split Second - "Rigor Mortis" from Ballistic Statues (1987)

One of may Belgian EBM bands to receive wider recognition with the growing popularity of this style of music in the clubs. "Rigor Mortis" was the second single released by the duo, and quickly became a cult favourite. A Split Second disbanded in 1991.




Front 242 - Headhunter (1989) [Single]

As the spearhead for EBM in the 80's, F242 had hit after hit in the European club circuit with their simple yet elegant backbeat rhythms, sequences and samples, and Jean-Luc De Meyer's distinctive vocals. While they had considerable success up to this point, 1988's "Headhunter" broke through like nothing before, and brought attention not only to EBM, but to Industrial Music as a whole.



:twisted: Good times
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 03 Jun 2013 08:33

Freewave wrote:

Haha, dat Harsh Noise-ish thing :D 2:30 reminded me of a Harsh Noise track of Supersaw Hoover. Used the same weeping sample.
Love your stuff on EBM btw. Sadly can't watch bottom vid because of some lousy copyright thing in my country. Ug.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 07 Jun 2013 14:36

Ok Trip Hop was recomended so I'll give it a go. If we need to get back to industrial people can pipe up on what flava. ;)
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 07 Jun 2013 14:54

"Trip hop is a music genre also known as the Bristol sound. The trip hop description was applied to the musical trend in the mid-1990s of downtempo electronic music that grew out of England's hip hop and house scenes in the mid 90's. Trip hop took root in Bristol partly because of its deeply rooted sound system culture and its relationship with a black identity. Under the influence of American hip hop from the 1980s both black and white British youth became consumers of hip hop. Hip hop in the UK was immediately fused with black soul and elements of dancehall.

The term "Trip hop" was coined by music journalist Andy Pemberton in the UK magazine Mixmag to describe the hip hop instrumental "In/Flux", a 1993 single by DJ Shadow, and other similar tracks released on the Mo' Wax label and being played in London clubs at the time. "In/Flux", with its mixed up bpms, spoken word samples, strings, melodies, bizarre noises, prominent bass, and slow beats, gave the listener the impression they were on a musical trip, according to Pemberton.

Massive Attack's first album Blue Lines in 1991, is often seen as the first manifestation of the "Bristol hip hop movement" (known as the "First Coming of Bristol Sound"). The original Bristol artists eventually took the music in a darker direction in sharp contrast to "Chill Out" which emerged in the latter part of the decade and was noticeably lighter and more upbeat variation on Downtempo."

Complete List

Highlights

Portishead - "Sour Times" from Dummy (1994)


"Portishead and Massive Attack were the pioneers and most influential artists in trip hop and they both produced two trip hop masterpieces but I believe Dummy to be the best of the two. On the one hand, it's a shame that trip hop peaked so early, but on the other hand it's a genre that's kind of set in time and in a city - The Bristol scene.

Portishead are an incredibly consistent band, they've never released anything that isn't brilliant, but this is definitely their classic as well as the genre's classic. Trip Hop in general, but especially this album, is perfect music for sex, video games, general night time and sleeping. Dummy is sexy, seductive, brooding, atmospheric, dark and incredibly cinematic as well as oddly intimate. The beats are great, the mood's great, the songwriting is brilliant, the jazz-based samples are outstanding, the vocals are incredibly and the use of scratching is fantastic. It's smooth and flows so perfectly. Dummy is one of the best albums of the 1990s."~TheCunningStunt




Tricky - "Christiansands" from Pre-Millennium Tension (1996)

"Maxinquaye was an unexpected hit in England, launching a wave of similar-sounding artists, who incorporated Tricky's innovations into safer pop territory. Tricky responded by travelling to Jamaica to record Pre-Millennium Tension, a nervy, claustrophobic record that thrives in its own paranoia. Scaling back the clattering hooks of Maxinquaye and slowing the beat down, Tricky has created a hallucinatory soundscape, where the rhythms, samples, and guitars intertwine into a crawling procession of menacing sounds and disembodied lyrical threats. "~AMG




Massive Attack - Angel (1998)

"It's the genre's best album so far as I can tell, only Massive Attack's own Blue Lines comes close to rivaling it. It simply has it all! One main problem I have with lots of Trip Hop is it obsession and flirtation with the Downtempo side of things, which often results in lethargic one note affairs of little interest. Mezzanine steps out of this in switching things up. We start on the smoldering trepidation of Angel, on to the dark urban brit-rap of Risingson, next is the gorgeous Teardrop, followed by the airy pretty menace of Inertia Creeps. This opening salvo is among as powerful a start as an album can hope to have. And the rest is no slouch either, the middle of the record is taken up by lesser but still very satisfying little songs like Man Next Door and Exchange. And it ends on yet more stellar material with the looming title track and guitar inflected finale Group Four. There's as much chill atmosphere here as there is low key energy, and it evokes a powerful mood."~Zephos

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Re: Freewave's Genre of The Day Exploration

Postby Lying Pink » 07 Jun 2013 15:47

Oh cool
I more or less listened to Pre-Milennium Tension/Maxinquaye non-stop for a couple of weeks last year. Tricky's delivery style is just aaaaah
I'll have to have a listen through the full box set at some point this weekend, looks like there's some interesting bits and pieces on there!
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 08 Jun 2013 04:33

Haven't been here in a while. But before I comment on the music, I'll give a suggestion that I can't remember being done yet. Witch House.

Listening to Post-Punk (which I've done quite a bit in the last month or so), makes me sad that it hasn't really picked up in the fandom, at least to my knowledge. Nothing like a good dubby bass and punky energy.

And of course industrial is an old favorite of mine, even though I am not in the "family of genres" side of the semantics debate. The phrase clearly only refers to the early stuff or things that sound like the early stuff. Everything else in the family is post-industrial.

EBM is good fun. And trip hop is pretty great too.
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Re: Freewave's Genre of The Day Exploration

Postby Lying Pink » 08 Jun 2013 04:51

ghelded_kultz wrote:Haven't been here in a while. But before I comment on the music, I'll give a suggestion that I can't remember being done yet. Witch House.

Oo that could be fun
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 08 Jun 2013 05:30

WITCH HOUSE PLEASE :D

Uhm... If you don't mind, that is...
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 08 Jun 2013 10:09

ExoBassTix wrote:WITCH HOUSE PLEASE :D

Uhm... If you don't mind, that is...



Absolutelty!! Trip Hop into Witch House and then maybe Hauntology :shock: :twisted:
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Re: Freewave's Genre of The Day Exploration

Postby Lying Pink » 08 Jun 2013 17:56

Oh interesting. I love clip clop and witch horse but I've never heard of hauntologee-gee before. Judging from the fact that the first result is a wikipedia page about Derridean philosophy, and judging from the sounds on the first music-related result, this might be a little too far down the PoMo rabbithole for my tastes, but I'm willing to give it a go waitnope changed my mind this is glorious
(and there I was thinking Hauntology was a thing you just made up)
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 09 Jun 2013 04:40

I really want to know what you can come up with with Jumpstyle/Tekstyle.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 12 Jun 2013 13:23

Witch House (initially called Drag)is a recent scene that consists of a mix of Chopped and Screwed hip-hop, Darkwave, dub, drone, slowed down samples, and darkened Chillwave. Like Chillwave and Hypnagogic Pop (which predated the scene and included Salem) they feature drowsy beats with vocals buried in the mix but the sound is much darker and with a gothic edge. Indie labels like Houston-based Disaro and Brooklyn-based Tri Angle are leaders in the sound. Bands often identify themselves through the use of triangles or unpronounceable and often unsearchable characters. Other charcteristics are that they are often led by female vocalists, and often prefer youtube clips to accompany tracks with a equally striking visual image to accompany the music. Most of these bands despite the immense web chatter have only had web releases of a few scattered tracks and few have released full lengths as of yet (and most of those have as CDR's).

Full List

Highlights:

White Ring - "Roses" -White Ring / oOoOO (2010) [Single]

"white ring's roses and oOoOO's seaww. extremely good witch house, two of the best acts in a split."~wef*ckinglovemusic

"Roses sounds like Crystal Castles' last album, Seaww is pretty dark and heavy. Promising stuff!"~mellonade

""Roses" is a pretty good track, the best Witch House I've heard actually"~Miklak



Balam Acab - "See Birds (Moon)" from There's Nothing Here But Peace (2010) [EP]

"Few of the genre's participants have yet successfully married the formula to anything approaching pop music, and for many, that doesn't seem to be the point. The few that have, however, are at Tri Angle's circumcenter, and while not exactly catchy, tracks like White Ring's "lxC999", oOoOO's "NoSummr4U", and B▲L▲M▲C▲B 's "See Birds" deliver simple, addictive hooks that, when paired with the striking production, coalesce into phantasmal club bangers.

"See Birds", a track that ought to appear on Balam Acab's forthcoming debut EP for Tri Angle, is staggering and woozy, with a buzzing bassline riding a sludgy, syrup-guzzling beat that sounds like Massive Attack foreshadowing a Jason Voorhees kill scene.~Pitchfork



Salem - "King Night" King Night (2010)

"I love Salem’s King Night. More than expected. I’ve enjoyed the previous singles, etc., but they didn’t prepare me for these 45 minutes of dark, weird, hollowed-out beauty. Starless deep-South mythologies filtered through Traverse City/Chicago street culture. They establish an elegant, pristine goth shoegaze that now and then drops out weird, introverted dance anthems. Or deep, bowel-shaking bass rumbles accompanied by warping atmospherics. A real sense of dirt. “King Night”’s the first track on the collection. It works well as an intro, prepping you for the blasted/bleak, catchy/creepy world that you’re about to enter."~stereogum

"Okay, you know how Salem will tell you how much they love juke at any opportunity? This is them telling you again – and it’s not the first time they’ll remind you. Drum machines are really at the forefront, louder and more stripped back than on previous Salem tracks. ‘King Night’ is basically stuttering 808s, incredibly distorted explosions and operatic vocals, until some acid lines make it a foursome about half way through the track."~Factmag

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