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!
Peri: Moldover — Young One
[To be Filled In]
Found on: It’s a bird…It’s a plane…It’s Spotify
SignificantOtter: AlicebanD — It Gets Better
It Gets Better is that song that I’ll have pop into my head every other week or so, then go down a rabbit hole of AlicebanD’s music – playing It Gets Better every third song or so. It hits so many of the right notes for me; excellent dynamic range, strong lyrics, and brilliant vocals, all wrapped up in a frantic indie rock backdrop supported by a melodic trumpet.
One of my favorite things about Alice’s music is the progression, and It Gets Better is no exception. After starting with a soft, pleading beat, a quick ramp-up pulls energy into the chorus that breaks out into a strong, rocking sound that’s played with for the rest of the song. Of course, the progression doesn’t stop after the initial ramp-up. It’s a continual progress, with the chorus changing slightly each time based on the build up leading into it.
Honestly, I’ve been listeining to this song way too much, not just this week, but for the past few months. Between It Gets Better and AlicebanD’s Wolf, I have a hard time deciding which is the best song I’ve listened this year. In fact, almost all of Alice Walker’s songs have enraptured me, which is unusual considering I’m the type to pick out just a song or two from any given artist for my playlists.
Found on: Spotify, Youtube, or Soundcloud
Amdusias: Shamir — Straight Boy
I’ll be honest: as much as I preferred Shamir’s sound on Ratchet, I think that his lyricism and subject matter are a lot better on his newest album.
People who came into his music via On The Regular might be sad that the uptempo disco jams are gone, probably never to return, but they’re replaced with a ton of earnest and introspective indie pop numbers that I genuinely enjoy a lot. This one’s no different.
Found on: Spotifylaxis
I think my ranking of classical periods (bunk as they may be) would be backwards chronologically, with a few exceptions. For example, I love Monteverdi’s Sestina, and that’s rennaisance. Anyway, the romantic era sits kinda in the middle for me. I like a lot of it - more than the classical period but less than the modern period.
The stuff that I don’t like is the stuff that falls kinda flat emotionally. It’s weird, then, that I like this piece as much as I do. It doesn’t do a whole lot for me emotionally, but dang, just the swaying back and forth and that do-sol-le-me motif just really does it for me. Oh well, can’t explain ‘em all.
Found on: Kapellmeister Spoot’s storage room
Alteq: Deca — Angel Butter
Deca’s sampling and flow match so so so well. I completely misinterpreted the meaning of this song for a while, and finding new meaning in it is like a whole new first listen
Found on: Gregg Spopovich
Lorxus: Royksopp — Boys
So, funny story about this song: I spent the last 8 years confused as to this song’s name and convinced that a third of The Understanding - the album this is off - didn’t exist. A little while after I met Alteq, when I was in high school, he shared a giant archive of samizdata-ed music with me. Unknown to us both, this song was mislabelled as Sombre Detune, and the entire album cut off abruptly after 11 songs at Dead to the World. I listened to this album perhaps hundreds of times over the intervening years. Two of my favorite songs - What Else is There and Beautiful Day Without You - are from this album. I wound up strongly associating a song off it (Circuit Breaker) with someone I once liked but no longer care to speak to. I had a gorgeous Proustian moment listening to it while eating dinner at Terrace over the club’s well-loved audio system off of a shared database of music, and it too had the familiar order and stopped after 11 songs, and I suspected nothing; I and whoever contributed the album to the club must have shared a common samizdata ancestor. It’s only when I put it on to grade a miserable stack of papers a couple of days ago that I found, to my enduring surprise, that there was an entire third of an album that I’d never heard - but this song will always, in some sense, be Sombre Detune to me.
Found on: The eighth song on the A-side of a tape cassette, the case and tracklist long since missing, passed from hand to hand since time out of memory. It’s been labelled at least five times that you can see on one side, and three on the other - on what you take to be the obverse, a neat cursive hand has marked “A Side: Mixtape for G”, but the reverse is marked “B-Side: ⭐FUCK JAMZ⭐” in a messier, more angular style. It takes you a week to track down anything that can even play the thing anymore, and when you do, you can’t recognize a single song, and neither can Shazam, but every song seems to be in a deeply familiar style. Two weeks later you pass it on to a friend you met in a music chat and never see or hear of it again, but a song from it will occasionally waft through your dreams as if playing quietly in a nearby room.
I appreciate a song that is just unabashedly fun. This Good Enuff/TREKKIE TRAX collab release is just that, filled with a lot of fun and varied modern electronic production. The beat on “Ballistic” is booming, with a slightly enveloped kick attack and a catchy, harsh, distorted synth hook. The real winner here is UK-via-US-and-Latvia rapper Ashnikko, who lays down some real confident lines. I always snicker at the line: “Dime a dozen for a dick pic, slick prick//Lay it out like a picnic, artistic”. I also appreciate witchy aesthetics, so the building hook of “cookin’ up a good hex” is one I dig. At the end of the day, this is no-frills fun with some good lyrics from a feature artist.
Found on: COOKIN UP A GOOD HEX
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