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!


Duster: Mothers — BLAME KIT

Really anticipating Athens GA-based Mothers’ second album which comes out next month! This is the first of two singles they’ve released from it and it shows the band eschewing their folky sound in favor of an anxious art rock sound that reminds me a lot of Palm, especially in the jittery fist minute before it calms down into a haunting dirge that continues for the rest of the track. While I’m a pretty big fan of Mothers’ debut, I’m glad to see the whole band taking on more of a prominent role this time.

Found on: Spotify

Din Fleetpaw: LIBYTHTH — It’s My Beak

The music video has been on my mind too much, who doesn’t love Duck Trap?

Found on: Yootoobs

Proxy: Iglooghost — Black Light Ultra

A revival of the weeklies the same week as two new EPs from Iglooghost dropping?! It must be my birthday! (Wait, no, that was months ago, I am not a child of summer, please stop showering me with gifts there’s only so much room in my tiny apartment im gay and drowning)

But seriously, there’s a lot to love about ʺBlack Light Ultraʺ. It has a darker tone to it compared to the stuff off Neo Wax Bloom, much like everything else off of Steel Mogu. It allows itself to have fun with that, though, with most of the darkness coming from the subwoofer-busting bass tones. The main synth line is actually pretty breathy and high and the stuttery vocal samples are akin to what you would hear in a Nightcore remix. Add in really active percussion and an operatic vocal line into this and you get something really interesting that’s just as likely to be dropped at a rave as it is to be listened to on repeat on commutes. It’s just a really solid hyperactive banger.

Also that vocal sample is a Danny Brown sample. therefore this track is the hole that was made for me

Found on: spim spam the stop spots

Makyo: Arthur Honegger — Concertino for Piano & Orchestra

OKAY SO

I originally found this piece through this YouTube video (I didn’t use it as the link because the sound quality is really awful) and hahahahAHAHAHA

I have so many questions. Why do shadows of instrumentalists lunge out at her from behind a screen? Why are the strings so menacing? Is the conductor disappointed or merely paternal (or are those just mixed up in my head)? Why is the piccolo player sitting on the ground, surrounded by chairs? When they were filming this, what did the orchestra thing, having to wait while the whole stage was rearranged?

Anyway, it’s a rockin’ piano piece, I really like it.

Found on: Spootles (but seriously, peep the YouTube link)

Amdusias: You Drive— Hold On

You Drive is the collaboration between Jasmin Kaset and Makeup and Vanity Set, and I have to say that the addition of a vocalist really completes the retrowave sound that MAVS is particularly known for. Come for the synths ripped straight from the 80s, stay for the haunting vocals, maybe watch Kung Fury while you’re here.

Found on: Makeup and Vanity Spot

Alteq: Jaga Jazzist — Shinkansen

Found on: Sports

Lu: The Struts — Primadonna Like Me

Let’s talk about gender roles. Glam rock is inextricably linked to a skewed sense of sex and gender ever since Freddie Mercury, Bowie, and the New York Dolls put make up on their faces and came out in skin-tight outfits. It was not about being male, or female, or anything inbetween; glam inherently is transhuman, because glam is about inventing an otherworldly creature that takes the ideas of human fashion, sex, and gender and throws them into a blender while laughing. Glam rock was one of the first visual representations of genderqueer for public consumption, and that’s important.

So in 2018, when everyone is at least passingly more well-versed in gender fluidity, it seems only right that a band would be rising through the popularity ranks with a lot of the same genderfucky ethos that the 70s and 80s once attained. The Struts manage, in almost all of their songs, to evoke a specific space between debauchery, self-actualization, and pure fun. This is just as obvious on their first album as it is here, with “Primadonna Like Me”. While there is a certain amount of division from its original roots these days, the word primadonna refers to the lead female singer of an opera. This comes not just with the baggage of being centre stage at all times, but also being demanding or frivolous with necessities. Primadonnas don’t drink water, they drink $18 bottled water that someone else bought for them. Primadonnas don’t wear shoes, they wear Louboutin or they don’t take a step.

I’m not here to say this is the lifestyle we should all aim to live 100% of the time, but “Primadonna Like Me” is a song about inviting others to enjoy the same kind of loud, raucous, and self-loving kind of emotion that a classic primadonna might. Luke Spiller’s wailing calls to “be a primadonna like me” are not telling us to not care about other people, but to indulge in the idea that we can love ourselves, and luxuriate ourselves. So be a primadonna, even just for an hour. Buy yourself your favourite expensive beverage; put on that shirt that’s too loud for you normally but right now feels good, feels right. Embrace your fucky gender, your fucky sex, your fucky everything. Be a primadonna like me.

Found on: Spot Me Outside