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Dive deeper into the murky abyss of Witch House, where the tendrils of occultism intertwine with the echoes of experimental electronic music. As a music producer and a disc jockey within this enigmatic realm, my journey echoes the very genesis of this genre, weaving a tapestry of haunting melodies and ethereal soundscapes.

The origins of Witch House lie within a select cadre of pioneering artists who dared to explore the fringes of sonic experimentation around 2008-2009. This emergence was not just a musical evolution but a cultural rebellion against the norms, a sinister dance with the occult. It wasn't about just the beats or the synth—it was an immersive plunge into a hauntingly beautiful, otherworldly experience that defied categorization.

At the heart of Witch House lies its sonic fingerprint—crafted with trap rhythms, mystic motifs, analog synthesizers, and a distinct lo-fi texture. But it’s more than just auditory; it's a sensory journey, an exploration of dissonance, and an embrace of the uncomfortable. It's about broken rhythms, disorienting beats that shatter expectations and immerse the listener in a disconcerting yet magnetic ambiance.

The genre’s allure extends beyond the music. It’s a visual and thematic spectacle, often cloaked in occult symbolism, veiled pseudonyms adorned with cryptic characters—an artistic expression that refuses to conform. Each artist’s persona, draped in the mystique of unconventional symbols, became an integral part of the occult charm, reflecting a commitment to deviate from the norm.

Witch House, despite its initial surge, faced critique as a fleeting trend. Critics pointed to its perceived stagnation and the unpalatable nature of its sonic palette—noises deliberately disturbing, defying conventional standards, yet constituting a genre-defining trait.

However, hidden within the somber melodies and the cryptic imagery is a deeper narrative—an exploration of the esoteric, a commentary on societal norms, and a rebellion against the sterile mainstream. It's a counter-narrative, an unsettling beauty that confronts the banality of modernity.

As a producer entrenched in this haunting auditory odyssey, my compositions echo the essence of this genre—a reflection of the shadows cast by the unseen, a symphony that resonates with the enigmatic allure of the occult. Within the labyrinthine corridors of Witch House, I find myself entwined, composing melodies that echo the sinister beauty hidden within its depths.

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 ▼▲ Origins and Influences ▼▲

• 1992: The Shroud’s “Spectre” video, a precursor to the witchy aesthetic.
• 1994: Fear Cult’s “A Boquet Of Songs,” characterized by slow drums, synths, and mournful lyrics.
• 1995: Switchblade Symphony's “Clown” video, laying the foundation for future WH producers.
• 1995: LAHKA MUZA's “Chvenie Absolutna,” with its ritualistic atmosphere, impacting future WH artists.
• 1997: Switchblade Symphony’s “Bread And Jam For Frances” album, resembling WH style.
• 1998: Deadsy’s “Commencement” album, introducing slow, eerie synth bass.
• 2000: Untoten's “Vampire Book,” blending hip-hop and gothic elements.

▼▲ The Genesis of Witch House Music ▼▲

• Experimental artists like Indu Mezu (2004-2005) in the lobit genre, creating eerie, lo-fi industrial beats.
• Antonio Urdiales' visual compositions (2005) defined the imagery associated with WH.
• Bands like Broadcast (2006), AIDS-3D (2007), and early releases from Salem and Modern Witch (2008), cemented the core sound.
• Pictureplane’s coined term “witch house” in 2009, marking the genre's emergence.

▼▲ Key Albums that Revolutionized Witch House ▼▲

• Deadsy’s “Commencement” (1998): Introduced the slow, eerie synth bass.
• Salem's "Yes I Smoke Crack" EP (2008): Early exemplar of the WH sound.
• Modern Witch’s self-titled album (2008): Contributed to WH's early aesthetics.
• Ectoplasm-Girls' “Forever Nothing” (2008): Embodied WH elements before the genre was named.

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In the dimly lit corners of the independent music scene, a sinister player emerges - LVD RECORDS. This shadowy entity has been shamelessly pilfering tracks, predominantly from the Witch House genre, and thrusting them onto commercial platforms under false authorship. The victims, including my close friends from the duo Ektropion, have had their music commandeered, and worse, their rightful earnings siphoned away. 

The audacity doesn't end there; LVD RECORDS brazenly fabricates copyright claims, reaping profits while sullying the authenticity of creators' work. The heist extends beyond the realms of morality, as they've even dared to publish tracks with illegal Crystal Castles samples, violating a trifecta of copyright laws. It's an egregious offense against the hardworking artists who pour their souls into their craft, only to see it plundered and repackaged under another's name. 

Let's shine a spotlight on this malevolent act – a rallying cry to stand against creative theft in the independent music community. Share this cautionary tale, for every stolen note is a blow to the artistic spirit. Let's unveil the masked culprits and restore justice to the soundscape they've marred.