Welcome to The SALSA Weekly! The SALSA Weekly is a curated playlist/post on the blog, wherein members of SALSA will submit one song they have been digging the past week and why.
For your listening pleasure, here are our picks in one handy dandy Spotify playlist. Scroll down for what we have to say!
I CHANGED MY PICK AT THE LAST MINUTE BECAUSE THIS ONE HAS HAD ME GOING ALL WEEK, ACTUALLY, AND THE ALBUM IS CALLED NAUGHTY DOGGY’S TERRIBLE BADTIME TRAPCORE HELL FOR GIRLS SO I HAD TO LISTEN. IT’S FAST AS HELL WITH LOTS OF SNARES AND IS BASICALLY MUSIC IN ALL CAPS
Ask me a week ago, and I would have told you a mixture of black metal and bluesy, spiritual chanting wasn’t a thing. But then I found this project album and, well, here we are. I’ve been digging it, and at the very least it’s interesting, even if neither of those things are your favorite genre.
Alteq: Still Corners — The Trip
I’m personally a sucker for scales/arpeggios/repetitive melody, as well as soft vocals. This touches on a lot of that, and I enjoy that the song has enough room to grow too.
Music by drag queens tends to be jokey dance-pop. Trixie Mattel eschews this with a flat-out amazing country-folk EP, which ranges from 80s Dolly Parton to 60s Loretta Lynn. But this song not only is a fun floor-stomper, but manages to have an entire verse about someone’s commitment being like a wounded werewolf, so extra points for pure originality.
veckus: Tim Hecker — Black Refraction
I know this probably won’t be new to material to a lot of you, but I come back to Tim Hecker a lot… I think its because his music feels like life… so its always relevant. Its a little eerie, a little beautiful, a little amorphous, and its moving, just like Tim’s music. Also, if this is new material for you, the only way to listen to this album is from start to finish - there aren’t any singles on here… do yourself the favor ;)
Veyote: Tchami — Adieu
There’s a lot to love about Tchami. A few years back he produced a few Janet Jackson, Oliver and A Tribe Called Quest bootlegs, pioneering the incoming “future house” sound. Now he’s done a complete reversal with the aptly-titled “Adieu”, which is an energetic yet super chilled proper house record that seems ahead of its time. In classic Tchami style he signals back to retro eras with a classy “Chain Of Fools” vocal sample.
Mando: Emperor — Inno a Satana
From the album that gave birth to orchestral black metal, it’s a foundational piece of the genre and contains the seed (and fertilizer) of bands like Dimmu Borgir. It features Satan, whose solo career is lacking but is constantly present in black metal artists’ songs.
Hot Sugar’s my idol. He makes these crazy, dense, really harmonically rich beats using a technique he calls “associative music”, which consists of him sampling whatever ambient things he thinks are poetic; a room’s “silence”, smashing ancient bones in the catacombs of Paris, the dripping of water. He turns them into instrument patches, creating music that’s “associative” in that you can associate the sounds with a place or time; like a musical photograph. None of his music contains any traditional instruments; all the drums and synths are created in this way. He’s clearly well-trained in music theory as well, as he combines these fresh and crazy sounds with some really well written, almost classical arrangements.
This song, I think, is one of his most catchy and yet dark, and it really shows that strong harmonic sense he has. The title is also great, like all of his songs. It’s almost hard for me to listen to anyone else now, because his sounds are so fresh that everything else sounds generic by comparison, even though he’s using the sounds in front of us every day; it’s so poetic, yet obvious. He’s also a filmmaker and his music videos are mesmerizing, and he also has the coolest clothing aesthetic. In my opinion, there’s no one out there currently making music with as much creativity and ingenuity as this guy.
Amdusias: Múm — When Girls Collide
Okay, first of all, check out the video for this, which is like, Talos Principle fetish hell and is just generally cool:
Anyway, people who know me at all know that I love my complex synth wibbles, and this fits very firmly into that vein, the Slagsmålsklubben / Röyksopp / lots of LSDJ composers school of “we put way too much pitch bending on our synth lead and it got glitched to heck, aren’t we cool? (Yes, you all are, please give me more of this.) It really only takes “a super cool synth thing to get me really into a song, so I was sold in a few seconds, but the rest of this is just generally super-catchy feel-good synthpop goodness: catchy vocals, lyrics that have absolutely no right being in a song as poppy as this (It’s time to break this bloody spell / It’s time to blow shit back to hell), five minutes of head-nodding. Very bumpable.
Pryapisme manages to make highly disparate yet wonderfully flowing tracks that lead you on this almost dreamlike musical journey. It’s lovingly crafted madness and I’m delighted with every turn their music takes.
Proxy: Bonzai — Bodhrán
Bonzai is an intriguing producer, distinctively working within modern R&B sounds while engaging with elastic synths that sound like semi-edgy guitar distortion. This extremely synthetic soundscape creates a fun environment and the driving, resonant percussion makes this intriguing to listen to as well as a fun track to just dance to. A lot of their production efforts tend to have a lot of abrasive elements to them, whether it would be too much send to the LFE on their kicks, or bits of harsh noise contrasting with silky-smooth R&B harmonies. That previously-mentioned distorted synth is that element on this track, occasionally taking more focus over the vocals, but that feels intentional. The vocals are occasionally unintelligible, adding just another pleasant sonic texture to this constantly-moving package.
Honestly kinda cheating here because it’s the entire self-titled album from Chinese Football that’s been helping get me through a very tiring finals week. There’s something pleasantly toothsome about the intro, as well as the way that (in a very post-rock way) the band doesn’t feel the need to start the singing until about 2 minutes in. = just a very nice sonic palate overall, too.
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