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!
Lorxus: *Mogwai — How to Be a Werewolf
Cheats again - I’m evidently bad at this, because it’s that slowly melting forth into the subsequent “Too Raging to Cheers”, “You’re Lionel Richie”, and “Slight Domestic”. Perhaps a bit Postrock 101, but come on, it’s literally “How to Be a Werewolf”, SALSAlites, and very, very relaxing, in a deliciously inevitable way, evoking lush green fields and clear rushing streams.
So I was introduced to this group in, like…2002 or so by a friend in Finland (hi Miko!). I listened to them tons back in high school, but kinda lost track of them once I got to university. Well IMAGINE MY SHOCK they’re on Spotify now, so I’ve been prowling back through them. Seriously, you’ll never find better Finnish klezmer metal with a distorted cello for the bassline anywhere else, I’ll tell you that for free. Although it’s their oldest album, the whole thing is gold.
Well, last week I found a mixture of black metal and spiritual chants. This week? Punk rock mixed with Romani folk music. Maybe next week I won’t be “weird genre dude” but whatever, I’m enjoying it and I hope you do as well.
veckus: Grizzly Bear — Three Rings
I’ve always really enjoyed this band, and to finally see a new release after like 5 years is exciting.
Amdusias: Nova Collective — Dancing Machines
Half of Nova Collective’s members are also in Haken, a quarter in Trioscapes (and a brief stint in Cynic), and the last in Between the Buried and Me. It absolutely shows; this is the sort of absurd jazzy sci-fi instrumental prog thing that I’d expect from that list of bands, and it’s a great showcase for four people who are way too proficient at their chosen instruments.
Lunostophiles: KOPPS — Baby I’m Dead Inside
KOPPS is one of those bands I dearly wish would finally release a full album; they’re lousy with EPs and singles, but nothing long-form and cohesive. Still, whenever there’s a new KOPPS song, I am always first in line. I’m not sure what I like more about this song: the unignorable bodygrind-ability of that bass line, or its juxtaposition against the existential, nihilistic lyrics that just drip with intoxicating villainy out of Patricia Petron’s mouth. I don’t think, in the end, that it matters–it’s just a great song.
Alteq: Maktub — You Can’t Hide
Learning about Reggie Watts through his comedy and TED talks has been a treat, but finding his previous, less comedic work with his original band has been a treasure. I love his pipes, he lends a certain groove, and listening this week made an otherwise dreary week, bright
Peri: tētēma — Tenz
Mike Patton is one of those artists who seems to have collaborated with everyone. Every time I think I’ve heard everything he’s been involved with I stumble onto something else. tētēma mixes up a bit of a “World” sound with a bit of a “Breakcore” sound with a bit of “Whatever the hell we call Mike Patton’s beautiful mouth sounds.” sound.
Proxy: Girlpool — It Gets More Blue
Girlpool is an act I wasn’t fully on board with at first. I was on a bit of a high horse when hearing about them, wondering just how compelling music comprising of just two chords per song and two instruments could be. Of course, with their last LP, When The World Was Big, proved me wrong by having compelling songwriting that felt intensely personal without ever getting navel-gazey. Just releasing on 5/12, their new record Powerplant keeps their lyrical sensibilities with plenty of vulnerability and poetic flexing. They expanded their sound on this record, including a drummer now and allowing their vocals to sit center-stage in the mix. An impeccable mix is good and all, but It Gets More Blue gets the nod this week for being very simply put, a damn good indie rock track. With lines such as “I faked global warming just to get close to you” and “The chase is as trite as the story I stage//A projection I write in a book on a page”, the lyrics speak to the fear of vulnerability within a relationship, the idea of a performative quality in a relationship. It’s tackled in an earnest way, with a really great guitar/bass progression with some added fuzz in the chorus. It’s exactly what I wanted from a bigger Girlpool sound, and is a standout on an already great record. Also: any chorus that involves digging through trash speaks to me on a spiritual level, as a trashbeast.
Veyote: Tek.lun — It’s All That
I mean, it’s all that.
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