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!
Makyo: Röyksopp — Compulsion
So, Röksopp’s The Inevitable End came with the announcement that it would be their final studio album. Folks were surprised and a little sad about this, as the group had been such an inventive force in electronic music for so long. Their goal was for it to be the final full album, though they’d release occasional non-album-format works, but that largely hasn’t happened.
I had complex feelings about that — artists should be able to leave projects behind when they need, after all — but I am just incredibly happy with what we got out of it. The Inevitable End is a fantastic album, which, in a lot of ways, is stronger as an album than as a collection of singles. It just flows so well through the process of grief and parting. With the exception of ‘Rong’, which I usually skip, I can easily listen to the album straight through on a regular basis. I have thoughts on albums qua albums, which may show up in their own post.
Needless to say, the album has quite a lot of variety to keep it interesting. There’s a few real bangers on it, but also a few super introspective-feeling tracks, like this one, on there. There’s just something so intimate about this reflection on what he should have done which, when combined with the driving tempo, forms an accurate image of my experience with both obsession and compulsion. After all, the key defining feature of a compulsion is that you will always fail. Always. If you succeeded, you’d never have to do it again, after all. You just always fall short. The tempo drop near the end is just fantastic, too. I love tempo shifts like that in pop music, probably because they’re so rare.
Anyway, ramble ramble. Do listen to the whole album!
Found on: Spopplio
No, that’s not a typo, the last word there really is “Ligh”. As far as I know, Saxon Shore’s never released a second album, but their first and only is quite good, and this song in particular has been playing on repeat.
Found on: Sporty Spice
There is a wonderful chaos to Spotify’s “discover” tab. A lot of the hits they throw at me are okay, the kinds of songs that’d show up on a artist radio but not ones I’d look at a second time. Of course, that’s fine–not every song has to resonate. Having this as my baseline for the discover tab means, though, that when I do find something good, it stands out all the more.
Bebe Huxley was a musician I passed over a few times when she showed up on my “choices for Lu”. The album art read to me as “another drag queen album”, which is fine but once you hear one club track about looking fierce, it’s hard to iterate on that in a clever way. So when I finally caved and listened to her album Scorpio, my expectations were blown out of the water. First off, Bebe Huxley isn’t a drag queen (though in my defense, the album art definitely reads as drag), and secondly, her music is self-described as “experimental pop”, and it shows. Bebe makes strange, darkwave-adjacent songs about sex, relationships, gender, and just existing inbetween.
Honestly, Bebe Huxley feels built just for me and my musical wheelhouse. And I think y’all should listen to her, too.
Found on: Prog Spot
Amdusias: No Age— Cruise Control
Snares Like A Haircut actually came out in January, but it only now made it to Sportiflop, so I’m writing about it now! (Also, this was a really really good week for things to write about: for stuff very unlike this, check out the new Jean Grae, Amen Dunes, or Sons of Kemet albums. QUADRUPLE WEEKLY WITH no real effort, anyway, uh, back to No Age.)
This is the sort of opening track that just washes over you; every guitar has enough reverb to fill an entire room, as is good and proper for shoegaze. However, unlike a lot of other similar albums, this one also knows how not to overstay its welcome: the longest track on the whole thing is 4:20 (eh, eheh), leaving you with a really tight collection of songs to lose yourself in.
Found on: Late Spootles
Amdusias: Saba— Broken Girls
So, based on the general Drake-ness of the first track on this album, I was expecting that I wouldn’t end up liking it. Then two things happened: it got super earnest and introspective, and he rhymed “Venusaur” with “penis sore”, and I was hooked.
Found on: Venuspot
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