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.

The List

For your listening pleasure, here are our picks in one handy dandy Spotify playlist. Scroll down for what we have to say!

Lu: Darren Hayes — A Conversation With God

I really could have put anything from Darren Hayes’ stupendous concept double album This Delicate Thing We’ve Made. It still stands up as one of my favourite pieces of music media. Why I picked “A Conversation With God” is multi-faceted, but mostly it comes down to how much of a great cross-section of the album it is. On the one hand, it has a driving, rolling synth line and beat that leans toward the more dance-pop elements of this album, but on the other hand we have the deep, introspective, thoughtful lyrics about grappling with a religion that is against the narrator.

What Hayes does on this album is nothing short of a stupendous semi-autobiographical masterpiece. But this song is one of the gleaming jewels on the crown.

Found on: Spotify

Makyo: Worriers — They/Them/Theirs

Been feeling super queer lately, and this showed up in a list of genderqueer songs - not necessarily artists (but also those) as songs that touch on GQ things or even instill super GQ feelings. The one phrase of “we are fighting between rock and why bother”, which has been encapsulating a lot of my feelings about gender stuff lately. Like, a loved one pinged me the other day, saying “you’re not a girl or a trans girl or anything else, you’re Makyo”, and yeah, it kills me. When do I get to be seen as something categorizable? When do I get to be a girl and addressed with ‘she’ without that pause of trying to remember pronouns?

Sometimes being queer feels like more work than it’s worth.

Found on: Spootify

Alteq: John Grant — Snug Slacks

John Grant was an easy choice this week, as I spent a lot of time revisiting his work on the road. The challenge was which track, and while I think he’s best showcased in some of his more emotional work (Glacier, Global Warming, etc), I wanted to liven it up with arguably his lewdest track. Enjoy

Interesting fun fact as well, I was introduced to John Grant through an episode of Comedy Bang! Bang! and he was a great addition. Even without his more typical soundscapes he stole the show a bit.

Found on: Spotify

Amdusias: Meniscus— Doom

I described this album to Proxy as “loud and crunchy and LOUD AND CRUNCHY”; that and a track title like “Doom” should tell you what you’re getting into.

Meniscus’s’s’ss’s 2007 release absence of i was a pretty big deal for me in my college-and-after post-rock days, but I thought they’d broken up after War of Currents in 2011. Surprise! They’re back! And they’re great. This track is, to me, absolutely everything there is to like about the heavier, crunchier-but-not-quite-post-metal side of the musical fence that I spend a lot of time hanging out on. It deserves listening at a strictly unhealthy volume.

Found on: Spotify

Proxy: Sidewalks and Skeletons — The Void

I have a weird relationship with witch house, namely in that I believe that it’s a very good, underappreciated genre. It’s so often the punchline of Bandcamp/SoundCloud-exclusive subgenres, and to be fair it does earn that reputation often. So much of witch house comes with the caveat of listening to music that frequently blows out mid-recording and results in a clipping nightmare with incoherent vocals and generic synth presets with badly-mixed trap percussion. What tends to be missing about it in most cases is basic mixing and emphasizing more of the darkwave origins of these synth sounds.

Enter Sidewalks and Skeletons, who have provided me with a sound I absolutely adore out of this genre. Great dark synths that bring me back to my (brief) EBM days, drenching what matters in reverb to make a texture cloudy rather than muddy, percussion that hits without being too distracting. The Void is the title track off of the UK producer’s latest record, and the atmosphere is fitting for a track of that name. It’s easy to lose yourself in the ambience despite the energy of the track compared to everything else on the record, with enough variation in the basic progression to keep it interesting and moving while sinking further and further into the void.

I guess it’s a good thing I never grew out of my goth phase, I just made it more pastel. soft pastel goth witch cat.

Found on: Spotify

Mando: Negrita — Rotolando Verso Sud

Went with something that perhaps won’t appeal to a lot of people, but is pretty chill and used to be a big summer song here in the early noughties. What can I say, I get the summer blues and miss being a kid.

The song (Rolling South) is a hymn to South America and self-discovery, with a latin slash soft rock sound very reminiscent of Coldplay’s Clocks as reinterpreted by Buena Vista Social Club. Most people think of the lyrics as a “vacation” summer song, though with its strong hint of sadness (A cry spanning centuries / That you can’t imagine / Dust to dust / Of motionless history) and its namedropping of Buenos Aires, the city with the highest number of Neapolitans in the world, it actually pulls double duty as one of many Italian songs about emigration.

Found on: Spotify

Lorxus: Boards of Canada — Turquoise Hexagon Sun

Boards of Canada is a weird one - I haven’t listened to it much lately but every time I come back to it I’m comforted. I rather enjoy the ambient nature of a lot of their work, the deliberate imperfection of its sonic palette, and the underlying hint of darkness.This, together with a friend’s introduction to My Bloody Valentine’s Loveless, is probably what led me to post-rock. Turquoise Hexagon Sun (perhaps my favorite name among their entire canon) nicely illustrates this.

Found on: Spotify, ostensibly