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!
Amdusias: Paramore— Rose—colored Boy
So, when I think of “the typical Paramore fan”, it isn’t me, not even close. But somehow, I managed to play the shit out of Misery Business, and then I managed to play the shit out of Brick by Boring Brick, and now I suspect that I’ll probably end up playing this shit out of this.
I find this to be an “important” pop song: it’s written about her (now-ex) husband, and basically amounts to “I’m not going to pretend to be happy for you, sometimes I’ll be depressed, and you need to learn how to deal with it rather than being a shitty partner to me.” I can’t really describe how important this song would have been for me to hear as an angsty teenager (which I think the “expected Paramore fan” probably is), and I’m ridiculously glad that it exists. There are a lot of adverbs in this review. This song is really really good.
Found on: oooooooot
As far as I can tell, it’s a recording of a string quartet glitched up a bit with an un-glitched string quartet playing over the top of it. It might be done live, though, which is even cooler. I’ve been on a very blippy kick lately after rediscovering Mouse on Mars, and this fits in quite nicely~
Found on: Sppppppppp
Lemon Demon, that internet band you remember way back from all the flash animations, put out this amazing record, Spirit Phone, last year. Their sound has clearly matured alot, as well as their production values, while preserving a quirky, off-beat nature in compositon and lyrical content. This song is so damn catchy, like many on the album, and I can’t get enough of that harpsichord part.
Found on: West New York, New Jersey
I haven’t listened to Basement Jaxx seriously since, gosh, high school? That would be 2003 to 2007. Heck, it might have even been before that, but it’s hard to say. What I am trying to frame for you here is that I cannot be called the biggest Basement Jaxx fan. I liked “Where’s Your Head At” as much as the next person when it was the dance song single du jour, but even then I wasn’t a huge dance music fan. I’ve gotten slightly better about that these days.
When this track got linked on Twitter, I wasn’t fully ready for how intense it would hit me. It would behoove you to go look up a video of the live performance, and for contrast, go look up the original. What Basement Jaxx decided to do with this orchestral performance was not merely replace synths with strings and 808s with drum kits, but rework their catalog to sit with an orchestra. They used the space, the multitude of instruments. Songs earlier on this album become baroque chamber music, or big sweeping soundtrack scores. It’s good shit, is what I’m saying.
Found on: Why?
This album is vitally important to me. I was introduced to Matthew Good around the end of my freshman year of college, and this album became the soundtrack to my 2am paper delivery job. There’s a lot to be said about how it ties in for me personally, but what I think is the strength of the album, is Good’s writing. He finds raw, brief statements that cut in and grab hold. I’ve bawled listening to this and other tracks, but I’ve windows down /belted/ out some too. Give it a shot and if you like it, there’s plenty of solo stuff of his that is well worth discovering
Found on: iiiiif
I mean, I wouldn’t expect a song titled after killing either a master or literal God and fleeing to the Americas to be so succulently, chorally gentle, nor so gently radiant, but here we are. Fun fact: This Will Destroy You, whose bassist, Donovan Jones, once said “Fuck post-rock, and fuck being called post-rock,” is categorized - reasonably, in my opinion - as post-rock on Wikipedia.
Found on: [smash cut to six bleached white skeletons]
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