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!
Proxy: Björk — Pluto
Found on: Hey does anybody else remember that one interview with Björk where she takes apart a TV? It was delightful. Also, this is one Spotify
There are two reasons for this choice–one more personal and one absolutely dorky. I’ll start with the personal one first, because at least it gives me a semblance of weight.
Hedwig and the Angry Inch is one of those musicals that came into my life pre-college, before I knew the grand scope of all kinds of alternative musical theatre. Going to high school in Concord, NC, there wasn’t a lot of genderqueer imagery basically anywhere save for one or two friends I had, so as a budding and (at that point) unknowingly genderqueer person myself, I was thirsty for anything to give me alternative views. David Bowie was a big part of that, but so was John Cameron Mitchell and Hedwig. While I was still barely out of my internalized homophobia stage as a (then) gay man, I did understand how important Hedwig was to me, exposing me to gender and queerness both apart and together as a spectrum and a glorious thing to celebrate and work with, not against.
I am sure we could have a long discussion on whether Hedwig and the Angry Inch is the best representation of those things, but this is my personal connection and not anything more. I love Hedwig, and I think I always will.
More nerdily, while in Australia I watched all of Jojo’s Bizarre Adventure: Diamond Is Unbreakable and, because I am this kind of person, felt the need to give Lu a Stand. I couldn’t decide whether to pull from musical theatre or more traditional Jojo-esque music for its name, so I split the difference. Its name is Midnight Radio, and has two other powers, Exquisite Corpse and Wicked Little Town.
I told you it was nerdy.
Found on: Green Circle With Three Black Marks, an art piece that speaks to a generation.
The attentive longtime SALSAlite will recall that I have a weakness for weird time signatures passed off in a charming, non-wanky way, and this, in 9/8 time, is no exception. Enjoy!
Found on: It’s kinda fucked up how they pushed the dude who first discovered irrational numbers off a boat to drown, but, like, I was deeply upset when I first encountered the Weierstrass function, so I guess I understand.
Ever since Claude VonStroke’s Dirtybird imprint won Mixmag’s Label of the Decade award earlier this year, I feel like there’s been a trend recently of more house tracks in similar styles to what the label has been known for years for - groovy & chunky beats, solid production, unorthodox synth design, and completely strange yet somehow catchy vocal hooks. I’m a fan of this sound a lot. The underground is slowly emerging and people are discovering great club music again.
Anyway, here’s a lovely little song about a sex-starved adult male, probably at some social gathering with others of his own age, who kindly asks a stranger he’s never met before to borrow his date for an undeterminable amount of time, with the the condition that he’ll give her right back.
Found on: Hey can I borrow your Spotify?
Alteq: Baths — Yeoman
Baths came out with Cerulean before my last year in college, and was kind of foundational in how my music tastes shifted and expanded. Obsidian was an equally vital release for me as well, and an interesting work as a whole. Will’s ability to cover a completely different tone so well really solidified him as one of my favorite artists. Could not be more excited for this new album, if Yeoman is any indication of it. It feel like Will has a lot to show for the 4 years sine Obsidian.
Found on: Once in a Spoot Moon
This is just pure, unabashed funk soul, and I’m so, so glad folks are still producing stuff like this. Not everything needs to be complicated, and I’d do well to remember that. I found Vulfpeck through Fugue State and have been keeping an eye on them ever since.
Found on: Stage Rhodesify
Amdusias: Oathbreaker— 10:56 / Second Son of R.
I’ll say first: the music video for this pair of tracks is pretty important to my experience of it, so that’s my preferred way to listen. I’ve also included Spotify links, though!
The other day, I fell into a hole of thinking about Deafheaven’s 2013 album Sunbather. It’s one of those albums that I love, but don’t understand its popularity: as the highest-reviewed album of 2013, it nevertheless comes with scores of “it’s really accessible, for a black metal album, 10/10” and “you might like this even if you don’t like black metal, still a lot of screaming, 9/10” type reviews.
In any case, I only bring this up because this process is what lead me to think way too much about the “new genre” that Deafheaven was doing (Blackgaze, a word of which I am not a fan), finally leading me to revisit all of those bands I’d checked out in passing in ~2014, ending up at last year’s new Oathbreaker album, Rheia.
Trust me when I say that this track (well, pair of tracks, but they’re clearly one song) is powerful, and doesn’t quite go where you expect. The vocals are as in-your-face as I’d expect, but with more anguish than it’s probably healthy to have in one place at one time. It feels deeply personal, and emotional in a way that almost no metal album I’ve listened to recently does. It’s a furious song, but not thrash metal 🎶 GONNA EXPLODE, I’M SO MAD, OOO YEHHHHH 🎶 fury.
Just, wow, those vocals, those drums, I never knew how much I needed more angry, incredibly loud shoegazey growly crunchiness in my life. Oddly specific? Sure, but it works~
Found on: Spanahmenah
This song is my anthem. There’s something incredibly charming and interesting about how Louis Cole dives deep into lo-fi funky indie pop despite obviously having the chops to be making something much more produced. His tunes are both predictable yet surprising, heartfelt yet ironic. A careful and measured self-aware, paradoxically forced yet genuine. It’s weird hipster music done right.
Found on: Doo doo do do dootify
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