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!

Amdusias: TRUTHR— Earth II

Fun fact: the top search result for “TRUTHR” is a troll video about a dating app for 9/11 conspiracy theorists. Anyway.

This is the new project of one Henry Homesweet. If you know me, you’ll know why that makes this week a really, REALLY easy choice for me, but if you don’t, go find Enter 5D on [music service of choice] and lose yourself for an hour. When you’re done, you’ll probably know why I checked this out immediately. A lot of Homesweet’s music is personally significant to me, and I’m sure I’ll be hugging the same person that I hugged a lot while listening to his other stuff while listening to this. Also, I’m pretty sure you’re reading this. Shit. Hide!

Found on: 🕴️

Makyo: Shawn Wasabi — Otter Pop

First of all, I’d like it on record that this was a ridiculously hard choice. Every single one of Shawn Wasabi’s tunes are fantastic, and I want to just put all of them down. However, I have to pick one. I could munge the site to allow me to just put an artist, but seriously, the goal is to just choose one song, and restrictions are sometimes healthy. I’ve even started getting out a bowl for chips and only letting myself fill that, rather than just eating the whole bag in one sitting.


So Shawn Wasabi came out with a new song this last week, and did so with an absolutely spectacular video, which is why I chose it. The rest of his songs are all super percussive and really help with making my otherwise slow days go a little faster. However, this song is so well produced, and the video is just so cute, that I had to go with Otter Pop (which I choose to belive is about otters getting crossfaded). Seriously, Shawn is adorable, the little drawings and lyrics are adorable, the music is adorable. It’s all just so good. Please oh god just watch the video.

Found on: △▽△▽△▽△▽△▽△▽△▽△▽

Proxy: †‡† — Baba Vanga

Oops, I missed a week, so now I gotta get back on my bullshit, and that bullshit is more witch house.

Ritualz (stylized as †‡†, for reasons) is Mexico’s premiere witch house artist, having a distinctively fun darkness to them that shows in their more rave-influenced work and general less-than-serious demeanor. It’s not like Salem in terms of lacking seriousness because the music is still listenable in spite of the obvious internet-aesthetic a lot of witch house goes for. Ritualz never forgets the ‘house’ part of witch house, creating what would sound like fitting music for a basement rave of goths where candles are as common as strobes.

There’s not much complexity to Baba Yanga that makes it my pick of the week other than the fact that I just find it really catchy. There’s a good driving beat, the synth progression is foreboding but inviting, the sixteenth-note melodic progression that’s introduced towards the end is a good variation that shows that witch house isn’t just mood music for aesthetic teens, but also perfectly viable party music. Good times at the goth rave.

Found on: ▼▲▼▲▼▲▼▲▼▲▼▲▼▲▼▲▼▲

Alteq: Hop Along — Tibetan Pop Stars

I don’t know where this came from, maybe a discover weekly or the like, but I rediscovered it and was taken in by the raw vocal work on it. Rest of the album is similar and worthwhile no less.

Found on: In a box marked ‘do not open until holiday of your choice;

Peri: That Handsome Devil — Elephant Bones

That Handsome Devil is the catchiest product of urban decay I’ve ever had the joy of listening to. It’s cynical, nihilistic, absurdist. The vocals are provided by the twisted lovechild of Dr. Teeth and Rowlf the Dog. I had a hard time picking a song, since everything these folks produce is golden (Or at least has tacky flakes of gold floating around in it).

Found on: Go to the abandoned burger king on 5th. You know the one. Go to the back door. Knock 3 times. Turn around. Close your eyes. It’ll be safe to open your eyes when you hear the door shut. Take the package that is now at your feet. Walk away quickly, ignore the footsteps behind you. They won’t follow you outside of the parking lot.

Lu: Cyndi Lauper — When You Were Mine

For the past few months, I have been in an aimless mood when it comes to music. There have been albums and artists that have dug their claws into me, but never stay for long. I’m not sure what it is, though more than likely it’s a mixture of brain chemistry, stress, distraction, and trying to push through a few audiobooks. It’s not my favourite feeling, being aimless in music, but it happens to all of us. What becomes hard is breaking out of a slump like that.

When NPR released their list of “The 150 Best Albums Made By Women”, it sparked something in me. Reading through the list, I realized how few of these albums were ones I was familiar with. Some of the artists, maybe, but very few of the albums were part of my personal collection. I decided that this was how I would get out of my aimless slump–I would listen to all of the albums, writing little comments about them all as I did. So far, I’ve listened to over ten of them (I only started on Tuesday) and have a lot more to go, but the act of shaking off that staleness in my musical tastes and listening habits is not lost on me, even so soon into this listening task.

What is there to say about Cyndi Lauper’s She’s So Unusual? I knew it was an important and well-loved pop album from the 80s, and I knew Cyndi Lauper was a great musician but I didn’t realize just how good she was. This is one of those albums that doesn’t relent on its quality, and front to back there isn’t a bad note in the bunch. My choice from She’s So Unusual could have been any of the tracks, but I went with “When You Were Mine”, a cover of Prince, because it not only shows off Lauper’s range in emotive singing, but that even here on her first major album (Blue Angel was her first but not her smash breakthrough album), she wasn’t afraid of queer narratives. Any other musician of the time would have changed the pronouns of this song to be about a man, but Lauper decided not. Listening to this in the context of the 80s makes it not just a great cover, but a rebellious act that either she slipped under the record company’s radar or, more likely, just said “I’m covering a song” and no one batted an eye at the political act.

Honestly, I just love Cyndi Lauper. She’s amazing, and her music is, too. We should all aim to be so unusual.

Found on: Spotify

Lorxus: Stravinsky — The National Anthem

This is the only arrangement of this I have ever enjoyed. Perhaps appropriate to celebrate a recent fleeting victory.

Found on: [a regular hexagon with all right angles]