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’m going to get a little meta this week, and instead of linking a song, I’ll link a podcast about songs. Song Exploder explores the process behind the composition of various songs. Hrishikesh is a wonderful host, the analysis is excellent, and the guests are awesome. If you want to be more educated on music history or the creative process for music, listen to this.
Found on: Wherever you listen to podcasts that isn’t Spotify.
Okay, Makyo’s on a streak of being bad about making these about more than one piece, but now she’s comfortable just owning it, so…just gimme five more minutes…
The opening theme of this is lifted from Mussorgsky’s song cycle Sans Soleil (1874). It shows up in the third movement La journée inutile et terminée about a third of the way through. Stravinsky loved the work, and there was no shame in his having quoted it at the beginning of Le Rossignol (1914. Mussorgsky was well respected among everyone, but particularly among Russian composers, where he was seen as a member of The Five/The Mighty Handful, a group who strove to create a uniquely Russian sound in classical music.
However, by this point, Debussy had already quoted the motif in his Nocturnes (1899), in Nuages, where it is used in decidedly French-romantic style, with lots of planing and delicious, liquid harmonies. This, perhaps, makes it probably the most famous — or at least widely heard — versions. Le Rossignol is a stunningly beautiful opera, but Nocturnes is more easily digestible, and more likely to wind up in a film score.
When discussing this in class, it was mentioned that Stravinsky rather disliked Debussy’s rendition, and may have been trying to reclaim it, make it better. After all, what better way to honor something than to write a better version of it? Alas, I can find no mention of this, but I like the thought of Stravinsky tutting in Russian, then being forced by publishers to provide a French libretto for Le Rossignol (or Solovyei) — and later Les Noces (or Svadebka) — because The French…so hot right now~
Found on: Stravotify? Stravinskify? Spotinksy?
BREAKING NEWS: I’ve finally made an account on Spotify, after Alteq informed me that the new Mogwai album was only available there, so this particular section of the crotchety old bastion of refusing to accept our loving machine gods has finally crumbled under its own weight. Ahem. Anyway. I thought that the title track of Every Country’s Sun was pretty weak, but this was my favorite off the album - it represents a clear memory of their characteristic style. I just like it, OK?
Found on: If you’re somehow reading this as an archaeologist in Late Pre-Singularity and/or Lorxus Studies reading this, I’m sorry for briefly exciting you, there are not yet machine gods in 2017, as far as I know. As a fellow graduate student, I understand your anguish. Yes, you specifically. Because I’m prescient. Hurry the fuck up and rescue simulation me already, I’m an excellent primary source.
Up until this week, I hadn’t engaged much with Fiona Apple, then I’listened to every single one of her albumss in a single sitting. Oops. I think I like her.
Fast As You Can is one of the biggest singles out of her lineup, and has been the catchiest one stuck in my head since I did my big discography binge. It’s a really gripping track about balancing power dynamics in a relationship with a good drum groove and simple piano progression. That organ descant sure ain’t simple, but it’s nice as heck.
The lyrics are easy to decode but still possess witty weight to them, and it works super well as a single and in the context of its extremely wordily-titled album “When The Pawn…”.
In other news, remember the 90s? Remember the 90s? Remember the 90s? Remember the 90s? Remember the 90s? Remember the 90s? Remember the 90s? Remember the 90s? Remember the 90s?
Found on: Snootify. I’m playing to the crowd.
I started listening to Ezra based on the channel’s (specifically Makyo’s) rec and was in love from the onsight. I initially was drawn to the sharp, terse, pointed nature of Ezra’s writing, but I stuck around for the fantastic use of horns in many tracks. To my surprise, delving deeper into Ezra’s discography revealed more levels of depth. Songs to do with queerness, illness, banality. They’ve rapidly become one of my favorite arists to slap an album on front-to-back and enjoy. Of note, with Spotify, I’ll throw on Perpetual Motion People, and it will continue playing through to Day of the Dog, and this track is usually what gets me to remember that I’m on a new album…which I then listen to as well. Great stuff
Found on: Find out, on the next episode of Spotify Z
Amdusias: ★STAR GUiTAR— Live
I’d like to thank the members of ★STAR GUiTAR for making themselves completely unsearchable by including the star in their name and naming themselves the same thing as another very famous song. It’s very helpful.
This is a band (much like LITE, mentioned here previously) that I came to entirely through their collaborations: this album has both a collab with SALSA favorite fox capture plan and me-and-Ace favorite JABBERLOOP on it, so it was definitely an easy sell. Even considering that, I didn’t get past track one before thinking “yeah, this is exactly what I was hoping for.”
Every track on here is a little different, but it’s all a little jazzy, a little dancy, very guitary, and just all a whole lot of fun. Also the entire album is full of cool collabs, which makes it feel really diverse. Plus there’s a even a Bach cover. What’s not to like?
Found on: Spotify. Really? Yep! Just spootify this time. Wait. Shit.
Are you a SALSAzen? Are you intrested in contributing? Check out the about page for more info!