Clams hasn’t confined his songwriting to rap music alone, and listening to his productions you can hear a keen sense of harmony, a pop sensibility and a willingness to let sounds dissolve into an uncharacteristic dream-like haze.Īfter a genre-bending EP Rainforest on the esteemed Tri Angle label, his LP “Instrumentals” compiles some of Clams’ most crucial and sought after beats. Edging into the limelight after passing tunes to Soulja Boy and Bay Area superstar Lil B, his originality has resonated with more than just rap fans. Even Tyler, the Creator’s early works bore the signature textured aesthetics of Witch House.Clams Casino is the pseudonym of New Jersey resident Mike Volpe, who has shot from relative obscurity to production sensation thanks to a handful of blistering tracks. The influence of Witch House extended beyond these artists, with the genre’s pioneers contributing to albums of notable names like Partynextdoor, Mac Miller, Lil Peep, and Joji. Most notably, A$AP Rocky, The Weeknd, and Kanye West tapped into the Witch House genre with tracks like “Bass,” “The Fall,” and “Black Skinhead” respectively. The Undeniable Influenceĭespite its self-imposed obscurity causing the swift disintegration of its Internet presence, the genre was successful in capturing the attention of key artists. With montages of vintage horror films, occult imagery, and cryptic messages, the genre stands apart from the mainstream. Witch House is characterized by its distinctive sound, heavily inspired by the “chopped and screwed” hip-hop production technique pioneered by the late DJ Screw.

Club, he remarked, “ were joking about the sort of house music we make, witch house because it’s, like, occult-based house music.” This casual remark spiraled into a full-fledged genre, giving rise to prominent acts such as Salem, Balam Acab, White Ring, and Clams Casino. The term ‘Witch House’ was coined in jest by Travis Egedy, a Denver-based electronic musician widely known as Pictureplane, in 2010. Despite its fleeting prominence, the impact of this obscure genre continues to echo in the contemporary music scene. This was Witch House, an electronic microgenre distinguished by its occult-esque, shadowy sonic landscapes, stuttering drum machines, and vocals drenched in reverb.

Buried deep within the labyrinthine tunnels of the Internet, there existed a peculiar corner of music that was almost elusive.

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