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Customer reviews

5.0 out of 5 stars
8
King Night
Format: Audio CD|Change
Price:£12.37+ £1.26 shipping

on 3 February 2015
Sometimes categorised as "witch house", this first album from King Night will be a real change of style for most people. Sinister and dark, it weaves noise and rhythm to make for some very interesting tracks.. "Trapdoor" is my favourite, and it's hard to describe why. Listen to it right here and see if you agree.
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on 12 January 2012
A lot of negative things have been written about Salem as a group, and to go into listening to this with an opinon on them from these musings would be wrong. What you have here is an incredibly dense record, despite the bomblast wall of sound, and you will get something new out of every listen. It is mixed perfectly and has a variety in its tracks.

The difference is what you have read to what you have heard is night and day.
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on 23 January 2013
This is the perfection of witch house and is one of my personal favorite albums of all time! The first three tracks are gems!
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on 11 October 2010
There are a number of reasons to be very grateful for Salem (or indeed their typeset variant SALEM). Whether this sinister Michigan trio are classified as a re-emergence of darkwave, or as drag, or illwave (a variant of chillwave, of course), or witch - or indeed wytch - house, they deliver their genre-straddling and innovative debut LP without any of the smugness that stems from beating ones imitators to the punch. And, unlike so many of their tail-grabbers - a notable exception being the very worthy and likeminded ensemble White Ring - they do it under a pronounceable guise, one free from symbology, if not allusion.

Morbidly carving out its niche from the belly of shoegaze, the aggressive end of dark dance and down-tempo rap King Night is surprising and entirely powerful - something that will come as no surprise to those that have been following the band's ascent from the controversial depths of the Yes, I Smoke Crack EP to the Water EP, from which only the King Night-highlight "Redlights" now makes the grade.

From SALEM's evocative choice of band name to their foreboding artwork, from their edgy promotional shots to their sanity-questioning vocals, from their echo-y compression to their clanking industrionics King Night is seriously dark stuff. It combines the creeping claustrophobia of Burial's Untrue, with the alien washes of The Cocteau Twins, only with more bass - lots more bass.

If Sleigh Bells appeared to own 2010's speaker-crumpling market, take note of what crushes the levels precisely 22 seconds into the titular opener. This sort of raw theatric shows just how puerile Treats was as "King Night" the track goes onto blend of "Ave Maria"-like atmospherics with War Of The Worlds-level epicness. John Holland's droning synth lines seem to trawl the depths of hell with Trent Reznor as captain and it's as exciting and urgent as any cut you'll hear this year.

Later, "Traxx" bolts on a series of metallic clanks and hisses to its similarly flexing echo and distant whispers, running with a early 90s ambience once it crawls out from the shadows. Whereas, "Asia" ripples with static and malfunctioning drum machines that gallop while the tempo drags coursing on anthemic synth lines taken directly from the most primal of the shoegaze canon.

Former single "Frost" is a slower exercise still in clapping beats and randomly arpeggiating drum sequences. Its disturbing vocal chatter comes courtesy of Heather Marlatt, who elsewhere spirits herself away on gales of intangibility and Gregorian chant. It's a trick she does so perfectly above the walls of static that comprise "Redlights", a track which audibly bleeds its influence later into the relatively up-tempo offering "Hound".

Jack Donoghue steps out from behind the beats on "Sick" providing a slow motion screwed-rap turn that flits in and out of some urban nightmare over beds of ghostly chant. Next, "Release Da Boar" is a drugged out bridge built on vocal pulses and roaring synths that lulls and beckons the album back into Donoghue's territory for "Trapdoor". Above screeching tyres and spiralling synths, his slowed vocal morphs into the centrepiece of some dystopian crunk anthem, antics he indifferently reprises for "Tair".

King Night closes with an overloading of equipment, and the squalling static of "Killer" sounds like what the conspiracy theorists wanted to find when they so painstakingly spun all their records in reverse. At every turn, SALEM are not for the unadventurous. From the very opening strains of King Night they enter deep into places most fear to tread, beaming back their strangled missives from beyond and haunting the living with their screaming murmurings of the dead.

Advised downloads: "King Night", "Redlights" and "Killer".

EDIT: That "Ave Maria"-like sample in the opening title track "King Night" is in fact a screwing with and perverting of "O Holy Night".
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on 30 November 2010
This is an album thats raw, full of gothic drama. The heaviest electro trance music out there. Saw them live last night and the album is repoduced brilliantly live.
The reworked Frost has been beefed up with even more bass...yep your house is gonna vibrate to this album.....what are you waiting for 'add to basket' NOW!!
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on 12 April 2011
Good golly these guys are so cool in everyway im not.In my furtive imagination i am the 4th member of this band.The album is cool,amazing theres only 3 other reviews?That just means officially we are the hippest reviewers on amazon.stick that in your pipe.All disconnected dead eyed mumbled vocals,distorted slurring raps over narcoleptic beats.Fits perfectly with my naive aesthetics of contemporary.A cool record for cool people.or people who like to think there cool like moi.10 out of 10.
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on 6 October 2010
I never usually read the NME as I think of it as a disgracefully left wing student rag, however a couple of weeks ago I chanced upon the latest edition and I'm more than glad I did as that's where I saw the review for this album. It got 9/10 and I liked the sound of what was on offer so I eagerly pre ordered myself a copy of King Night. I had been listening to the tracks intently on youtube every day anyway so I knew what was on offer but that listening experience is through crappy little laptop speakers.

When listened to at high volume through decent speakers this album is genuinely stunning in so many ways. The crushing opener 'King Night' will make you feel like you floating in space while an earthquake is happening beneath you. When the beat kicks in it's honestly one of the best opening tracks I've ever heard. And that's just the start. There are very obvious influences here of my bloody valentine and nine inch nails so if you're remotely into that sort of stuff then this album is a must buy.

The other hightlights are 'frost', 'killer' and 'trapdoor' but every track booms away in this woozy ambient wave like fashion. It's full of darkness and is definitely one to listen to at 3am in January after a few too many whiskies. I haven't got this worked up over an album for about 18 months (since last year's Crack the Skye by Mastodon) but this one is a very special release indeed. I think they'll go onto become independantly huge as word of mouth spreads like wildfire. I can just imagine them blowing a festival crowd away with the sonic assaults on offer here. Give them another 18 months and I reckon this bunch will headlining some pretty big gigs so get onboard while they're relatively unknown.

Just to conclude - this album is an outright masterpiece and will be one of this decade's finest works. I guarantee it.
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on 1 December 2015
Favourite band ever, I needed the CD...
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