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Michigan-based trio Salem (John Holland, Heather Marlatt, and Jack Donoghue)
evolved a personal brand of
heavily arranged post-house and post-hip hop dance music on the
EPs Yes I Smoke Crack (Acephale, 2008)
and Water (Merok Records, 2009).
King Night (IAmSound Records, 2010) refined the approach
The bouncing electronic leitmotif of King Night conceals the anthemic Christmas melody by a church choir.
A mournful synth melody winds its away through the distorted booming percussion of Asia, like a Morricone requiem performed by a noisy dream-pop ensemble.
Frost weaves a fragile Enya-esque elegy around intricate syncopation and soaring synth lines.
The quasi-religious Release Da Boar is two feathery slow-motion tsunamis of droning voices hurling towards each other during the early moments of the Final Judgment.
A warped rap washes ashore the lulling electronic tide of Sick, attended by a multitude of girls of the Pacific islands.
Even the much weaker rap of Trapdoor cycles over itself to the point that it starts sounding like a transcendent mantra.
They have a unique knack for turning the simplest of melody and the simplest
of rhythms into a majestic hymn, as Redlights proves.
The industrial psychedelic march of Hound sounds like a club remix of
Donovan's Hurdy Gurdy Man.
The album as a whole feels like a symphony of twisted grooves,
dense and tangled electronica,
shoegaze-y clusters of distortion,
skittery hip-hoppish machine beats,
swirling oneiric vocals, and
luxuriant musique-concrete collages.
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