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 wrote about Hiatus Kaiyote early on, and I think a lot of my original “why I dig it” thoughts still stand:
- Their website describes them as “Multidimensional, Polyrhythmic Gangster Shit”, which, yeah. Though, I think “gangster” here takes on a few meanings, as they can really pull off a sort of 20’s/30’s prohibition era vibe, granted with a very modern sound. At the same time, they can also pull off a more contemporary (still multidimensional and polyrhythmic) gangster sound. Maybe that’s the “multidimensional” bit, though.
- They have a lot of Rhodes sounds, and I will never turn down a heaping helping of Rhodes piano.
- They’re really good at pulling off planing, a neat romantic era technique of turning all members of a series of chords into a melodic line. Their track Swamp Thing has a lot of this.
- Bulleted lists.
Found on: Spoot?!
I’ve written a couple times about Tchami for SALSA, but I can’t help myself. This tune originally had vocals by MNEK, and arguably it’s not as good without him on it, but the melody is way too catchy and the message is too feel good.
Found on: Spoopyfy
Speaking of noise… here’s a track I don’t listen to much anymore. However, I remember very vividly listening to it for the first time after a friend (Cheers, Robin!) sent it to me; I was just flattened for a bit with thegorgeousness of the raw intensity of the wall of sound, and this delight would eventually lead me to a love of postrock.
Found on: splut
Amdusias: London Grammar— Non Believer
Okay, so, before anything else: if you like Imogen Heap’s “Hide and Seek”, stop reading this and go listen to this song now. I’ll wait.
Back? Cool! This might be the best single I’ve heard this year, and I can’t speak highly enough of it. It’s really easy to get me to listen to something just by saying “there’s a vocoder and some harmonies and it sounds kinda like Imogen Heap wrote it”, but the comparisons there mostly end at instrumentation. This is the quintessential headphone jam to me: the harmonies are incredible, the production is tight as heck, it’s minimal while not being boring, the lyrics mean a lot to me, just, yeah, I listened to this track probably fifteen times in a row yesterday because it grabbed me and wouldn’t let go.
This isn’t a great review because it’s mostly just frothing about how good I think this is rather than telling you why, but screw it, it’s good, go check it out. :P
Found on: SPORTS
New Broken Social Scene dropped this weekend, and I’ve been a big fan of some of their previous work. This album feels a lot different from that, which isn’t offputting per se. It caught me by surprise, but I’m glad they kept a lot of the big instrumentation that defined them in songs like “Shoreline” or “I Slept With Bonhomme At The CBC.” This track felt real lush and I figured it was as good as any to toss. Def check it out
Found on: Swiggity Spooty
What doesn’t Magik*Magik have? This is music so in my wheelhouse I think it was made specifically for me: clear female vocals, synth + orchestral instruments, an intense and cinematic quality to the song structure. There is something interesting and new to find in each of the tracks on their debut album, dancing between songs comfortable in a spy thriller and ones that could score a chill teenage party without a problem. I’m in love with the breadth of the whole album (also called Magik*Magik), and how much each song feels like its own small cosmos of ideas.
Found on: Spotify
This is gonna be probably the hardest track I’ve had to explain for SALSA Weekly yet. But I’m short on time, so hear me out.
Pedestrian Deposit is an LA-based noise artist, describing themselves as being somewhere between electroacoustic, sound collage, and harsh noise. Even just half a minute of listening to Austere, the record this track comes from, makes that obvious. The noise moments come very rarely, but when they do are harsh and unsettling, capitalizing on the many minutes of oppressive atmosphere. I described this as “goth noise” on Twitter earlier today due to the construction of the synths, they’re very heavy on dark tones with some cold distance but shocking warmth. There’s a lot of really brilliant manipulation of instrumentation here on You Didn’t Break Me, but it’s very indicative of the rest of the record.
However, to focus on the song itself is to focus on the record, and the fact that it is essentially an entire EP put into a song, an excellent and ambient summation of what Pedestrian Deposit excels at. Despite the harsh nature of these 20 minutes, there’s an underlying sense of hope. An underlying sense of survival, of beginning to pick up the pieces and move on. I found myself crying unexpectedly listening to this, the environment actually engaging with me and resonating with personal experience.
Noise is a genre of music I have a lot of love for, and this is an example of why.
Found on: spork
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