Remember 2010 and the glorious days of witch house? Like all trends, some benefit from a seasonal peak, ending up being explored, appreciated and buried again, only to later return under a new trend wave. This happened with shoegaze, which led to Slowdive and Ride’s comeback, a new My Bloody Valentine album is currently in the making, or even the psych rock craze, which allowed bands like Tame Impala, Temples, Moon Duo and many others to thrive.

The internet has always been the vehicle for these viral waves to spread. Take PC Music’s dysformed glitch pop and look at where they stand now: trendsetters. Should a new wave, and take on, witch house and dark electronics be a thing? I’d say yes.

Witch house held hands with pagan and/or religious symbolism, an odd number of unpronounceable bands and projects, goth fashion aesthetics, dense basslines, shrieking synths and also took into consideration elements from 90’s trance, rave music and EBM. Bands like Crim3s, White Ring, Ritualz, Sidewalks and Skeletons, and genre masters Mater Suspiria Vision remained active and were advocates, during this rising period, to a genre that started as an internet joke but ended up shaping a period in electronic music, leaving a mark at the turn of the first decade of the noughties.

As most of these projects ended with the decay of witch house, producers moved on to other endeavors and the few that kept going, readjusted their sound and embraced a newborn identity.

British producer David Whiting, former frontman to London synth-pop duo Heretics, relocated to Stockholm, later settling in Berlin in pursuit of new creative horizons. Musically drifting through several genres and aliases, his bow church project gained serious traction during the heyday of witch house. On Canon, his third album under the moniker, we face a brand new musical direction, leaning towards a cinematic and eerier mood, yet paying respect to the original founding elements of the previously mentioned niche genre.

As most songs on this record are instrumental with occasional whispers and unperceivable sentence making, opening track ‘Vox Dei’ sets a common ground for the forthcoming industrial inspired universe he created throughout the course of two years of living in Berlin. Followed by ‘Sulfur’, the producer explores and opens the doors to a profound depth, also incorporating classical elements, such as strings to appeal emotion and sensitivity.

While ‘Sanctuary’ immerses itself in Lynchian grounds and ‘Immolate’ brings out the good electronic elements of classic 80s dark synthwave at its climax, ‘Oath’, the second single, is a combination of europhia and relief, as it becomes inviting for either self-reflection or club mayhem.

bow church is a case of graceful rebirth. As for a project that was deeply embedded in a trendy scene, as time went by, the producer was able drive across a spectrum of subcultural genres and finally land in a place of comfort and fulfillment. Canon is rich in eeriness, club bangers and darker moods, embracing modern and retro references à lá Stranger Things without sounding tacky and or repetitive.