Rarely does an album title fit the music as well as Salem’s debut does. The moody atmospheric King Night feels like 4 a.m. in the darkest parts of the city. The Michigan-based trio delves into shoegaze in one track before deciding to test the waters of hip-hop-esque rave anthems on the next. The sound is spacious, warped and devoid of warmth–like a last call, deserted streets and mechanical late-night hedonism. The album’s title track, for example, fills space with eerie wails and a slow, provocative drum pattern, and then as the sun rises on both the night and the album, the listener is treated to the brooding “Killer.” In the end, the album proves that it is the night that is the king of the dark.