The short run made it all the more impressive that the underwater howls would continue to ripple on through the mainstream of modern music today. Club, “ were joking about the sort of house music we make, witch house because it’s, like, occult-based house music.” The joke took on a life of its own, spawning its most notable leaders in Salem, Balam Acab, oOoOO, White Ring, and Clams Casino.Įven with a moment of prominence so brief (2009–11) before collapsing back into its own obscurity, the enigmatic sub-genre summoned a handful of artists that would cement themselves as music’s next foundation. The “witch house” moniker was penned by Denver-based electronic musician Travis Egedy (a.k.a. Witch house, the electronic, micro-genre best known for dark, sonic landscapes littered with stuttering drum machines and its pitched-down, reverb-soaked vocals, ruled the underground music scene, even if just for a moment. Deep in the digital catacombs of the Internet lived a corner of music you’d hardly remember, let alone find, even with a map pointing you directly toward it.
