The Lovecraft witch house is a subgenre of electronic music that takes inspiration from the works of H.P. Lovecraft and the aesthetics of witchcraft. It emerged in the early 2010s and gained popularity in underground music circles. Lovecraft, the American writer known for his bizarre and cosmic horror stories, has had a significant influence on various art forms, including music. His eerie descriptions of ancient beings, forbidden knowledge, and otherworldly realms resonate with many artists.
His eerie descriptions of ancient beings, forbidden knowledge, and otherworldly realms resonate with many artists. The witchcraft theme, often associated with supernatural powers and dark rituals, adds an additional layer of mystique to the Lovecraftian world. The music of Lovecraft witch house incorporates elements of various genres, including experimental, darkwave, and electronic.
H.P. Lovecraft’s Witch House Review
PLOT: A college student who believes geometry is the key to inter-dimensional travel starts having terrible nightmares in a house where a witch may have carried out human sacrifices.
REVIEW: First published in the pages of Weird Tales magazine in 1933, legendary horror author H.P. Lovecraft’s short story The Dreams in the Witch House has been brought to the screen twice before. Once for the 1968 film The Crimson Cult, which had an impressive cast that included Boris Karloff, Christopher Lee, Barbara Steele, and Michael Gough. That was such a loose adaptation, Lovecraft wasn’t even given credit. Decades later, Stuart Gordon gave Lovecraft credit and kept the title intact for his 2005 contribution to the Masters of Horror series. Now the story has gotten the low budget indie treatment with director Bobby Easley’s new film H.P. Lovecraft’s Witch House (watch it HERE)… and this really goes to show how much of a tough act Stuart Gordon is to follow.
Easley’s Witch House was filmed at the historic Hannah House in Indianapolis, Indiana, a place that is said to be haunted – but for the purposes of this movie, the Hannah House (as it is still referred to by the characters) is in a town named after a Lovecraft location, Miskatonic. The character we follow into this place is college student Alice Gilman (an actress credited as Michelle Morris on the film itself, but as Portia Chellelynn in the marketing), who is working on the theory that sacred geometry is the key to inter-dimensional travel. It just so happens that a previous tenant at Hannah House did crack the secrets of inter-dimensional travel and you would think that stories of this might be what inspires Alice to rent a room in the place. After all, the Gilman character in Lovecraft’s story purposely moved into the Witch House because of its history. But that’s not the case here. Alice simply moves into the Hannah House / Witch House because there’s a vacancy and her violent ex, who once beat her so badly that she miscarried their child, is on the loose. She needs a place to hide out while working on her theory, so the Hannah House it is. As soon as she enters the house, she feels like she belongs there. And the “suggested geometric shapes” in her attic room are perfect for her studies!
Alice’s housemates in this place are her landlady Etta (Shonda Laverty), Etta’s deeply religious, alcoholic brother Joe (Joe Padgett), and Etta’s niece Tommi (Julie Anne Prescott), who is around the same age as Alice. Etta and Joe are only a presence for key moments, but Alice ends up spending a good amount of time with Tommi – who helps her look into the history of the Hannah House. Which is when she finally finds out she’s living in a “Witch House”, as it used to be home to Keziah Mason (Andrea Collins), a servant girl who was accused of carrying out human sacrifices – the sacrificed being children – and was burned at the stake. Tommi also manages to seduce Alice so easily, it’s like she’s James Bond levels of irresistible, leading to a gratuitous sex scene. Paving the way for more gratuitous moments of nudity and scenes of Alice in her underwear. But given that the best Lovecraft adaptation we’ve ever seen (Stuart Gordon’s Re-Animator) features a gratuitous scene where a nude female is assaulted by a severed-but-living head, it’s tough to fault other Lovecraft-inspired filmmakers for trying to spice up their movies with bare flesh.
The story of Keziah Mason inspires Alice to work occult symbols into her studies and to look up the Necronomicon. She also starts having intense nightmares about occult practices, Keziah, and the witch’s buddy Brown Jenkin. If you’re familiar with the source material, you’ll know that Brown Jenkin was described as being a rat with a human face, something that Gordon was able to effectively bring to the screen for his adaptation. Of course, this one didn’t have the budget necessary to create Brown Jenkin, so the character is represented through shots of a regular rat and a scuzzy-looking human. While Alice is there dreaming, someone is stalking around the town of Miskatonic, abducting children. It looks like history is repeating itself. And somehow, even though Alice is an established Lovecraft fan – she’s reading Lovecraft the first time we see her – she never ponders how it could be that she’s living something similar to The Dreams in the Witch House. Maybe she’s too terrified. Maybe the adaptation is too loose. Or this oversight could be explained by the final moment of the film, which will have many viewers groaning and rolling their eyes.
Much of Witch House’s mercifully short running time is dedicated to the nightmares Alice has. Trippy sequences that are soaked in colorful lighting. Easley has said that he was drawing inspiration from Italian genre filmmakers while making Witch House, so the lighting must be his tribute to Mario Bava and Dario Argento. The nightmares are certainly the most visually interesting parts of the movie, as the low budget is very apparent in the overall look of the film. A cheap look is easily overcome when the story and/or characters are interesting enough… but the storytelling here is very messy and scattered, and the characters aren’t interesting. So Witch House very quickly becomes frustrating and difficult to sit through. My favorite thing about it was the fact that the end credits kicked in after just 75 minutes.
Witch House might find some appreciative viewers who are intrigued by the strangeness of the dream sequences, but I found the film to be poorly crafted and a bit of an endurance challenge. As far as adaptations of The Dreams in the Witch House go, I would not recommend this one… but if you do check it out, at least it won’t take up much of your time.
Witch House is now available on Digital, VOD, and DVD.
It often features eerie atmospheric sounds, distorted vocals, heavy bass lines, and slow, dragging beats. The use of witch house aesthetics in visual artworks and music videos further enhances the overall experience. The Lovecraft witch house subgenre is known for its atmospheric and haunting compositions, which transport listeners to a surreal and otherworldly realm. It combines elements of horror, occultism, and spirituality, creating a unique sonic experience that resonates with fans of dark and experimental music. In addition to Lovecraft's influence, witch house draws inspiration from other cultural and literary references, such as occult symbols, ancient mythology, and medieval witchcraft. This fusion of different elements creates a rich tapestry of sounds and visuals that captivates its audience. Lovecraft witch house has garnered a small but devoted following in the underground music scene. Artists such as SALEM, oOoOO, and White Ring are often associated with the subgenre. These musicians have pushed the boundaries of electronic music, exploring new soundscapes and pushing the limits of what is considered mainstream. While Lovecraft witch house may not be widely known or recognized, its impact on the electronic music landscape is undeniable. It has carved a niche for itself as a unique and experimental subgenre that showcases the darker and more esoteric aspects of art and music. In conclusion, Lovecraft witch house is a subgenre of electronic music that takes inspiration from the works of H.P. Lovecraft and the aesthetics of witchcraft. Its eerie and atmospheric compositions, coupled with a visual focus on occult and otherworldly themes, create a distinct and captivating sonic experience. While still relatively niche, the subgenre has had a significant impact on underground music and continues to attract fans of dark and experimental music..
Reviews for "The DIY Ethos of Lovecraft Witch House Artists"
1. Robert - Rating: 2/5
Lovecraft Witch House had so much potential, but it ultimately fell short for me. The story started out intriguing, but the pacing was extremely slow and it felt like there were unnecessary plot points that didn't contribute to the overall storyline. Additionally, the characters lacked depth and I couldn't connect with any of them. Overall, I was quite disappointed with this book.
2. Sarah - Rating: 1/5
I really disliked Lovecraft Witch House. The writing style was difficult to follow, and the author seemed to prioritize using complicated vocabulary over telling a coherent story. The plot was confusing and disjointed, making it hard for me to stay engaged. The protagonist was unlikable and there was little development in any of the characters. I found myself skimming through the pages just to finish it.
3. Alex - Rating: 2/5
Lovecraft Witch House was a letdown for me. I expected a thrilling horror story, but instead, I found it to be predictable and cliché. The scares were lacking, and the attempts at building tension fell flat. The narrative felt disjointed and the multiple subplots were overwhelming and poorly executed. I was really hoping to be immersed in the world of Lovecraft, but unfortunately, this book didn't deliver.