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!
Lunostophiles: Deap Vally — Little Baby Beauty Queen
“Deap Vally are one of the best hopes that grimy rock music can continue to make a huge splash in the modern era. Lindsey Troy can go from a soft purr to a teeth-baring growl in milliseconds, and this track shows that off in spades. That, mixed with the sleazy, dirty, and yet oh-so-right guitar riff gives me that scuzzy, beautiful mess sound that I sometimes ache for more in rock these days. Add to that Julie Edwards’ frenetic, necessitous drumming and you just have a flat-out blistering rock band who does blues without any of the late 60s white guy fetishization.
Also, if you get a chance, go watch the video, cuz it features Trixie Mattel and I love everything Trixie Mattel touches.”
Makyo: Aphex Twin — Alberto Balsam
I can’t figure out what the hell that drum is. I love the sort of wandering bass above simple percussion with edge-on cymbals. And whatever the fuck that drum is. The sort or Rhodes-y keyboard work that comes in waves is delightful, a sort of chord heavy jazzishness that feels satisfying. That drum, though…it kinda honks? Some of the more melodic bits make me feel like this is an instrumental cover of a vocal song, with the repeated notes. I can’t stop thinking about that fucking drum @.@
Proxy: White Ring — IxC999
Look, okay, I know I go to bat for witch house more often than most people. As a genre, it’s one of those “are you -sure-“ Bandcamp things, combining elements of darkwave synth with trap percussion and blown-out production that sounds like it’s eternally clipping. Its main purveyors have treated it like a joke. But White Ring still manage to stand out to me for coming across as genuine and occasionally unsettling. With indecipherable lyrics, some occasional harsh bits of noise, and a catchy rhtyhm matched with steel drum punctuated by a gun cocking and going off…there’s not much to say here. It’s dark, it’s catchy, it’s certainly of the year 2010.
“Okay, yeah, I know, I KNOW, it’s called ““No Wolf Like The Present”” and that gets it an extra point or something. I’ve legitimately lost track of what’s up with this band (they split into Sparta and The Mars Volta, then The Mars Volta split, and Sparta split, and now some of them are back in this, or…something idk) and didn’t even realize that they had a new album coming, but Relationship of Command is a hardcore classic, and I really wanted to see where they’ve come in the 17 years and multiple bands since. Turns out that it’s pretty jammin: still as nonsensical as you’d expect from Cedric’s lyrics, production that’s a lot more modern and clean than their old stuff (for better and worse; it sounds a lot less raw), a slightly more radio-friendly sound, but still pretty loud and aggressive and just kinda fun.
PS, it’s been 17 years and I still don’t know what ““send transmission from the one-armed scissor”” means, help me out. :P”
I’ve become a bit of a fan of microtonal music recently. Coming from the background of primarily Western popular music, experimenting with different tonal systems is unfamiliar but fascinating. I like to think of it as a bit like seeing art with colors that you’ve never seen before. Sevish manages to make very listenable music that plays around with tonality.
“So this is definitely a departure from stuff I’ve been listening to of late, and certainly in general. I came across the Blade Runner Soundtrack itself in a ‘music to work to thread’ this week and yeah it was solid but… the music stuck so much with me afterwards.
I had really forgotten how much atmosphere the soundtrack had given the movie. It’s a “dry tears” derelict sadness that I found myself really synching with this week.”
Veyote: Dusky — Ingrid Is A Hybrid
“Much of my love of electronic music seems to stem from video games, especially those in the early and mid-2000’s. Rhythm games like Dance Dance Revolution, Beatmania and FreQuency (and its two sequels that were both called Amplitude because Harmonix hates numbers), as well as racing series like Burnout and WipEout, played an integral part in my discovery of some of my favourite artists. Usually it would happen in that order - play game, find cool music, buy their music, rinse, repeat.
Earlier this week I booted up Forza Horizon 3 for the first time, an open-world racing game I’ve been wanting to try for a few months. I’d never played any of the Forza games due to its console exclusivity but I found myself picking up an Xbox to play with others. The start screen loaded up and the first single from Dusky’s sophomore album Outer immediately blared to life. My first thought was “oh god, Spotify is shuffling my library in the background again”, but no, it was in the game, and is in fact the default start song upon multiple bootups (yes, I quit and restarted two more times before I even got to the game. [Oh yeah, the game is badass.]).
Dusky’s album Outer was one of my top three records of last year, with “Ingrid” firmly the top of the heap. It probably doesn’t fit the second “SA” in SALSA criteria, but damn it’s a good one.”
Danger: Lully — Slow D’s
I heard this on a playlist released by the gorillaz leading up to the release of “Humans”. This particular playlist was curated by Noodle with the theme of “Awesome women in music. Theres something very off kilter in the right way about the fluctuating modulation in the vocals in the chorus mixed with the steady bass and plethora of organic minutiae (the bird calls, the shallow breaths0 that just builds up to a mood and sits just right for me.
Lorxus: Scale the Summit — Atlas Novus
On the best of days I feel like a whirlwind of inference, a stormy unstoppable gyre of axiom-lemma-theorem, a horocyclic whirlpool elemental of pure Platonic truth. On the other days, I self-medicate with postrock like this. Or both at once, it’s whatever.
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