The witch house, also known as the "haunted house" or the "black house," is a subgenre of electronic music that emerged in the late 2000s. It is characterized by its dark, eerie, and atmospheric soundscapes, heavily influenced by elements of hip hop, trap, and industrial music. The origins of witch house can be traced back to a group of internet-based musicians and producers, who took inspiration from various sources such as witchcraft, occultism, horror films, and haunted houses. This diverse range of influences is reflected in the haunting and ethereal nature of the music. The production style of witch house often incorporates elements of lo-fi, with distorted vocals, reverb-drenched synths, and heavily processed samples. The use of chopped and screwed techniques, where the tempo and pitch of a track are altered, also adds to the haunting and disorienting atmosphere.
Which Witch House?
One reason that I’ve been an ardent preservationist for most of my life is my belief that buildings hold extraordinary power–even more power, I think, than unbuilt spaces, no matter how beautiful. I can’t imagine a better example than Salem’s “Witch House” (more formally and accurately known as the Jonathan Corwin House), a structure that represents both the most tangible connection to the Witch Trials of 1692 as well as a symbol (and vessel) of Salem’s modern transformation into the “Witch City”. The Witch House seems to reflect the evolving aspirations and perceptions of the city that surrounds it: for much of the nineteenth century, it was referred to as the “Roger Williams House”, a designation that tied it to the seventeenth-century minister who left intolerant Salem for free Rhode Island rather than the witch-trial Judge Corwin from a generation later. Freedom of conscience versus irrational jurisprudence.
The Witch House today and in an 1886 card by Edwin Whitefield, author/illustrator of Homes of our Forefathers. Whitefield’s images seems to be based on that of Samuel Bartoll’s 1819 painting, in the collection of the Peabody Essex Museum.
The early architectural history of the Witch House is a bit mysterious (a study has been commissioned by the city, but I haven’t seen the results yet), but most experts believe that it dates from much later in the seventeenth century than Roger Williams’ time in Salem. All of the above images, those from the nineteenth century and just yesterday, might be idealized images of this fabled house. We do know that Jonathan Corwin acquired a structure in this location in 1675, and that he served on the Court of Oyer and Terminer which tried the accused “witches” of 1692. That fact alone seems sufficient for the house’s transformation into the “Witch House” much later, after it left the possession of the Corwin family in the mid-nineteenth century. More than anyone, the person responsible for this identification was George Farrington, an entrepreneurial Salem apothecary who definitely emphasized the witchcraft (rather than Williams) associations of his new place of business: Farrington grafted a box-like shop onto the house and sold medicines in bottles with a flying witch insignia, anticipating the marketing strategies of Daniel Low decades later and many Salem businesses today. He also published images of the “old witch house”, effectively establishing that identity.
The Witch House in the mid-nineteenth century: very influential photographs by Frank Cousins of the front and rear of the house just prior to Farrington’s purchase in 1856 (the house had acquired a gambrel roof in the mid-eighteenth century), a Deloss Barnum photograph from the 1860s, after Farrington’s pharmacy had been attached to the house, an “Old Witch House” stereoview published by Farrington, and a Farrington medicine bottle from the 1880s as pictured in a recent ebay auction. All photographs from the Robert Dennis Collection, New York Public Library.
For nearly a century, the Witch House was configured as a strange (maybe not for Salem) combination of business and tourist attraction and thousands (maybe more) of postcards were issued, fixing and broadcasting its identity. In the decades before and after World War I, when Daniel Low was marketing its witch spoon and other witch wares nationally, there seems to have been a marked increase in the number and variety of Witch House cards. There are also some interesting private photographs of the house from this era, confirming its conspicuous place in Salem’s urban streetscape.
Two photographs of the Witch House in the 1890s from the Schlesinger Library at Harvard, and postcards from 1900, 1901, 1906, 1908, 1911 & 1922. Just a random sampling of many on the market!
The 1940s was a decade of transformation for the Witch House, when it came to represent preservation–but also profits: change and continuity. With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival (along with that of the adjacent Bowditch House) became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb (who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House). Moved to a more secure northwestern position on its lot, its shop detached and gables rebuilt, the Witch House was opened to the public in 1948 by the City of Salem, and it has been doing steady business ever since.
The Witch House in 1940 (HABS photograph by Frank Branzetti, Library of Congress), 1945 & 1948.
For more on the evolving perception, and structural history of the Witch House, see Salem’s Witch House: a Touchstone to Antiquity (The History Press, 2012) by Salem architectural historian John Goff.
Witch House
The Witch House is home to Ellen. Her parents remains are also there but they're locked in the cells on the 5th floor. Not much is known to people other than it's located deep in the forest. The dark magic within is very powerful and dangerous to anyone who is not welcome into the home. The only human who can come into the house without dying is Viola.
The use of chopped and screwed techniques, where the tempo and pitch of a track are altered, also adds to the haunting and disorienting atmosphere. Lyrically, witch house often explores themes of darkness, death, spirituality, and the supernatural. The use of cryptic and occult imagery in song titles and album artwork further enhances the mysterious and enigmatic nature of the genre.
Contents
Although witch house remains a niche genre, it has gained a cult following and a dedicated community of artists and fans around the world. In recent years, it has also influenced and seeped into the mainstream, with elements of witch house incorporated into the sound of various artists in the alternative and electronic music scenes. In conclusion, the witch house is a unique and atmospheric subgenre of electronic music that embodies a dark and haunting aesthetic. Its blend of eerie soundscapes, distorted vocals, and occult themes creates a captivating and otherworldly listening experience for those drawn to its macabre allure..
Reviews for "The role of witch house in the resistance movement"
1. Karen - 2 stars
The Witch House was a disappointment for me. I was initially drawn in by the intriguing premise of the story, but the execution fell flat. The pacing was uneven, with long stretches of nothing happening and then sudden bursts of action that felt out of place. The characters were also poorly developed, making it difficult to connect with or care about their fates. Overall, I found The Witch House to be a forgettable and underwhelming read.
2. Mike - 1 star
I really wanted to like The Witch House, but unfortunately, it failed to capture my interest. The writing style felt forced and overly dramatic, making it hard to engage with the story. The plot lacked originality and felt like a rehash of other supernatural mystery novels. Additionally, the ending felt rushed and unsatisfying, leaving me feeling unsatisfied and disappointed. I would not recommend The Witch House to readers looking for a captivating and well-crafted thriller.
3. Sarah - 2 stars
The Witch House had potential, but it ultimately fell short for me. The characters were cliché and lacked depth, making it difficult to become invested in their journey. The plot, while initially intriguing, became predictable and formulaic as the story progressed. The writing style was also lacking, with awkward dialogue and excessive exposition. Overall, The Witch House left me feeling unimpressed and eager to move on to a more engaging read.
4. Robert - 3 stars
I had mixed feelings about The Witch House. While the concept was interesting and had its moments of suspense, the execution was lacking. The pacing was uneven, with long stretches of slow buildup and then rapid, disjointed action sequences. The characters were also underdeveloped and lacked depth, making it hard to fully invest in their struggles. Although I appreciated the attempt at creating a thrilling supernatural mystery, The Witch House failed to fully deliver on its promises.