And suddenly, they’re everywhere. Every magazine you open, every web page that loads, the three drawn faces of Salem look back. 90s grunge stares with a jaundiced gnarl, even constricted to paper pages or backlit screen they intimidate. And they’re always there.
But unless you’ve been paying close attention to the online hype surrounding debut release King Night, you could be forgiven for not understanding what all the fuss is about. Who are these Gen X throwbacks and why are they suddenly, suddenly, demanding such a high amount of attention when, and this is the key, nobody can really quite describe what their music sounds like?
It’s the key and it’s the beauty of Salem. Three personalities combining three styles and sounds to create something that takes in dubstep, hip-hop, industrial noise, gothic… drag?
Drag.
Sure, it’s this new genre that we’ve created and thrown a few names into, but do Salem really belong? Do they really have contemporaries? It’s a notion they reject in interviews, and maybe we just created this bracket and placed them in to stop it feeling so eerily outside. To better understand the deathly, oppressive slum that creeps through my headphones with every press of play.
However you want to label them, I don’t think anyone can deny their originality or their audacity in doing what they want. This isn’t the kind of record I can review by throwing in a few nods to Bowie’s exuberance or the Jam’s guitar hooks. Salem draw on a newer school of experience, and one that they shape and mould into something that takes my breath away. Jack’s pitched-down cough syrup rhymes could be lent from the dirty south, but it’s not ripped. John’s destroying synth lines have an air of post-industrial punk to them, but again, it’s different. It’s the way they’re pieced together. It’s progressive and dominating and gloriously different. For every darkly slurred line, there’s a choral soar coming. Yes, the record will weigh on you, but there are moments of beauty that lift.
The reason I like this album, love this album, however, is the way it makes me feel. It’s like I’m watching a horror movie I’ve seen ninety times. I know what’s going to happen. I know every line. But still, I sit there, edge of seat, completely involved. It’s the feeling of unease and discomfort. It’s a stray into the dark side with the knowledge that every thing is going to be alright.
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Fantastic review Jen, it’s a fascinating record.
yeah this was a hard one to pick for a number of reasons. What’s important though is that it’s bloody, bloody good, glad you approved. The band are certainly an interesting bunch too…be interesting to see what they’re like live when they come over soon…
Doesn’t work for me I’m afraid… I find it just a little too OTT
People need to stop needlessly glorifying bands. Why stoop so low as Pitchfork and NME? Everyone is sure beginning to sound like them. Salem is not all that original. Does anyone remember 80s? Dark synth music at all? Heck, 1996, Eye by Smashing Pumpkins ring a bell? Should, it even made it to the charts and was featured in a movie. It featured 808 drums and eerie synths etc. Similar to Salem’s style. This has already been done and capitalized. Nothing new, get over it people. Salem has it’s moments, I do enjoy it from time to time, at least studio wise, but it’s not all that original or mind opening. Get over it. Stop crucifying everyone.
I can see your point, but this is my personal opinion of the record. I’m 25, so no, I can’t claim to remember the 80s, but what I do know of that time doesn’t sound completely like this. And I certainly think the record is a lot darker than Eye, a lot.
While yes, there are elements such as the 808 drums, the destroying synths, the overriding sickness which can be heard in the music of previous generations, I think Salem also take influence from, say, the dirty south which I’ve really never heard nor can I envisage being present on a Throbbing Gristle record, for example.
But it is just my personal view, and you’re completely entitled to your own.
why stop at eye? when i heard the album i was reminded of pornography by the cure, an lp from over ten years earlier. (i’m old enough for that).
but i fail to see how the origins of the record are relevant really. or, frankly, why acknowledging that this is a terrific release is ‘glorifying’ it.
there are echoes of what has come before in ‘king night’ just as there are in any ‘new’ record. but it does bring something new and, imo, startling to the table. and it is a very impressive piece of work of considerable integrity and creativity.
im i the only 1 who hears the christmas song O-Holy Night being sung by a choir in King Night?? it’ll make sense with the song title dont you think?