By the time you make out the choir of “O Holy Night” eking through the walls of distortion on opening title track “King Night,” it might be too late. You might have already had the volume up pretty high but have gone ahead and cranked it up as high as it can go. You’ve made the decision to let the heavy bass get caught in both ears and even your throat. You’ve submitted to the idea that the glory of “Frost” and the nasty chaos of “Trapdoor” and “Killer” deserve to exist in harmony. If Ween went to a southern baptist church and decided to get uglier on principle they still wouldn’t be able to conjure up the sonic depravity of SALEM. It’s a messy good/bad time.