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!

Traedon: The Verve Pipe — Medicate Myself

The Verve Pipe is a band that I haven’t delved too deeply into yet, but I can tell you now that they’re a band that have surprised me with their sound throughout the few albums I’ve listened to. They have a bit of a raw sound, somewhat unpolished sound, especially in their earlier works, that bleeds through their songs. They’re well composed but are a little roughly mixed, and yet that plays all in their favor to give them a bit of flavor and charm.

This song is an odd one; it’s a hard rock song written by a band that usually doesn’t quite delve into this territory, at least at this length. It’s rather generic when it comes to the presentation of the instrumentation in the verses as it plods along. But what really makes this song special is the vocals and the chorus, which almost seems to turn into a mantra as it progresses along.

Though it might not start off particularly strong, give it a shot, the chorus and the ending will be stuck in your head for days after hearing it and you’ll be going back to listen to it just one more time to satisfy that itch to hear it end again, chanting alongside it. And that’s ALWAYS a welcome feeling. (To be perfectly honest, I’ve had it stuck in my head for the past week, not that that’s exactly a bad thing.)

Found on: You know the place

Lorxus: Bob Dorough — Hey Little Twelve Toes

At ANE I was reminded of this, which was my favorite song when I was about 6. Coming back to it, this explains a lot about me and I still think its ethereal progressions suit the song well.

Found on: Would you take this six-fingered hand

Makyo: Vernon Jane — Fuck Me

So, I’ve been all over, this last week. I got a combination of ‘really good Discover weekly’ and ‘really good Release Radar’, so it was really hard to pick just one. I went for something that was the most different of all, though, since I got a bunch of meedly postrock, and another conscious rap piece, which is a genre I already covered last week.

Anyway, I got this sorta…I dunno. Hard rock? Antemetal*? I dunno. It’s this hard, shouty sound that doesn’t quite fit into any one genre comfortably, and it reminds me of both Bent Knee and Esperanza Spalding. It’s got that heck-yeah-screaming-ladies sound that is so good, combined with someone talking about getting fucked, and lots of tritones, so…yeah. It’s pretty Makyo.

* Ammy made fun of me for this, but seriously, it’s like that room outside of metal, where you could go inside and get straight to Oathbreaker, or you could head back outside and wind up in Queens of the Stone Age or Them Crooked Vultures or some other Dave Grohl band.

Found on: Tritonify

Lunostophiles: Dessa — Half of You

I don’t know if I could properly outline all the reasons I love Dessa, because said reasons are infinite. Every time there’s new Dessa music, whether on her own or with Doomtree, I get unreasonably excited because I know what I’m about to get is thoughtful, poetic, and full of passion.

Chime definitely feels like Dessa’s most political album to date. After all we’ve gone through in the recent few years, it would be hard for any artist worth their salt to not have a political stance. Chime is full of interwoven songs about being a woman and a person of colour in America (and the world) at this point in time. Not every song is so on-the nose as “Fire Drills” or “Ride”, but even a song as upbeat as “Half of You” feels political.

“Half of You” is a song about a relationship, but the idea of only having access to a half a lover has weight in a time when we are working hard to divest the struggle of walling off our emotions, either because of gender roles, the stress of class, or any of a number of much larger ideas.

Dessa really has something to say on Chime, and I am here for it.

Found on: Cronchify

Amdusias: Alva Noto & Ryuichi Sakamoto— Glass

So my weekly pick was between this or Vektor, and-

“Why would your weekly pick be between a 36-minute ambient track or thrash metal?”

YOU KNOW WHAT YOU CAN SHUSH anyway, my weekly pick was between this and Vektor, and I decided to go with this because the Vektor track isn’t new, and also I loved the heck out of this. Sakamoto is well-loved amongst SALSAzens, and I wasn’t familiar with Alva Noto before this, but I really, really like what I’m hearing.

Sometimes, you know, you just need music that you can press play on and end up on the other side of, where half an hour has passed, you’ve gotten a shit-ton of work done, and you don’t actually know where the whole thing went. This is exactly that; straight onto Music For Programming, and straight into my ears for workdays, purr, purr purr. Shit, that got super furry, oops.

Anyway if you want something COMPLETELY AND UTTERLY UNLIKE THIS SONG IN EVERY WAY you could also check out Vektor’s Terminal Redux, it shreds.

Found on: Ryuichi Spotimoto

Proxy: FKA twigs — Glass & Patron

For all of the comparisons to Bjork I see in music criticsm to any woman who makes artful music with an excellent ear for electronic production & collaborators, so few of those comparisons honestly seem apt (that’s more of a discussion to have later, but the long and short of it is that it’s reductive to the identities of these artists). I will outright say that this is none more true than with FKA twigs. She was basically referred to as “black Bjork” around her debut, and while I will admit that engaging in artful/initially-offputting soundscapes gives her that element, these two are equally distinctive artists.

“Glass & Patron” is a quintessential FKA twigs track, for instance, despite being quicker in tempo than most of her other works. It starts with a slow build in an unnerving, buzzing ambience, shifts in with stutters and deep, pounding drums. It feels raw and dangerous, alluring in its shifts all the same. This unease never ceases, but not only does the track work as a rave banger as it shifts, it paints a more complex relationship with sexual confidence, and the desire for MDMA and booze to augment that experience and supplant that confidence.

…yeah, I find this track kinda sexy, I’m not gonna lie.

Found on: hold that spot for me