Matariki Hunga Nui – Calling Me Home
by Troy Kingi, Rob Ruha, Kaylee Bell
Well, it seems like 2025 has got its own Poi E. Written by Troy Kingi, Rob Ruha, Kaylee Bell and Professor Rangi Mātāmua (the rangatira of Māori astronomy), this is a big-hearted country-soul waiata that suggests line-dancing is about to become a Matariki tradition. For more evidence see video featuring the good professor himself, as well as Tame Iti and Kiri Allan. One day it will probably end up as Air New Zealand coming-into-land muzak, but for now it’s the feel-good hit of the winter. – Russell Baillie
Off the Rails
by Benee
Last heard singing the Bret McKenzie-penned Zero to Hero – essentially a sports drink turned into a song – on the Minecraft Movie soundtrack, Benee returns to her own devices with this, possibly the first track off a sophomore album likely later this year. Co-written and produced by the Europop team of Elvira Anderfjärd and Luka Kloser, it’s a sub two-minute infectious blast of cheerleader electropop-punk with a lyric that suggests, yes, she’s still a bit lonely but quite a lot louder than she used to be. – Russell Baillie
Foolish Heart
by Tami Neilson
If anyone could and should pay tribute to the operatic pop of Roy Orbison it is Tami Neilson who here channels The Big O’s drama and heartbreak on a moving original. “I grew up with a photograph of Roy Orbison cradling me in his arms, tucked into the pages of my baby book” she says, “My Dad played a venue with him and asked if he would mind holding me for that photo. I like to think of this moment as my true christening.” Another from her forthcoming Neon Cowgirl album (July 11). – Graham Reid
Hammer
by Lorde
The third and final single before the release in a couple of weeks of the other eight tracks of Lorde’s fourth album Virgin. While the previous one, Man of the Year, was the dramatic art piece, this is a more conventional dance-pop throb-fest with lyrics and arrangement that promises more than it delivers. It either doesn’t quite find the high gear it’s revving towards, or it leaves you wanting more – which, as the album opening track is possibly a good thing. – Russell Baillie
It’s What I Am
by Birds of Passage
Eerily romantic soundscape-cum-slo-mo shoegaze from Birds of Passage (composer/songwriter) Alice Merz) in advance of her seventh album. A local cult artist waiting to be discovered. – Graham Reid
Superglue
by Pearly
After a 2024 EP, Dunedin four-piece Pearly has a debut album, Not So Sweet, in the works for release via Flying Nun in late August. This first single shows them to be a noisily charming mix of sweetly shy singing and the sort of quiet-loud guitars that did wonders for alternative rock – especially the likes of the Breeders and Belly – in the 90s. – Russell Baillie
Death Comes from the Sky
by Unknown Mortal Orchestra
From a new EP entitled Curse, another one of UMO’s weirdly, woozy and whispery guitar outings, which, despite the stratospheric nod of the title, sounds like Hendrix playing in a deep–sea submersible. – Russell Baillie
Clean
by No Cigar
This local indie rock band have two solid albums behind them and have proven to not be as risk-averse as most. They frequently deliver moody if catchy songs and this menacingly chugging and quite haunting single confirms No Cigar as being something out of the ordinary. New album Under the Surface out July 30. – Graham Reid
Slow Singers on the Hill
by Steve Gunn
Indie rock’s favourite experimental guitarist and alt-folkie Gunn delivers a moody, broody instrumental with a low synth landscape, repeated guitar figure and a gentle relentless build across its five minute-plus duration. Is hypno-rock a thing yet? – Graham Reid
I Started a Joke
by Paul Weller
Britrock’s still-prolific Modfather has a covers album in the works. The best-known of the tracks is this take on the Bee Gees’ 1968 fatalist classic. Weller straightens out the original’s baroque arrangement into a stirring waltz-time anthem of acoustic guitar and swirling strings, but it’s his dropped-key vocal that carries the day. – Russell Baillie
Move Now
by Marshall Crenshaw
Much overlooked American pop-rock singer-songwriter Crenshaw has had a fascinating career from performing as John Lennon in the Beatlemania play to being Buddy Holly in the La Bamba movie, writing hits for the Gin Blossoms and others (including the title song from the John C. Reilly film Walk Hard) to being sometime-lead singer with the Smithereens. Along the way he has released albums of roots rockabilly/New Wave and this fairly typical, taut single – with an oblique but discernible political message – is in advance of his From the Hellhole album (August 29) of remixed deep cuts and near-hits. – Graham Reid
Magnificent
by Half Japanese
Jad Fair’s long-running project have been steadily moving towards the mainstream and out of cult status where they were best appreciated by those who like B-grade sci-fi movies and atonal pop-rock. This spoken word piece over a lovely melody (“I thought I might not add a vocal. It works so well as an instrumental”) celebrates life and living in the present: “This is our time, and it is magnificent.” It follows a couple of similarly optimistic singles in advance of a new album Adventure out July 11. – Graham Reid
Sali
by Cheikh Ibra Fam
Now for something completely different, the resonant voice of this singer originally from Dakar, Senegal and former member of the famous Orchestra Baobad. With glistening and mercurial guitar, a handclap beat and a song celebrating feminine beauty this is an uplifting few minutes to bring a smile. Check the colourful video. – Graham Reid
Schubert, Piano Sonata in B-flat D960
by Alfred Brendel piano.
Some said he was too cerebral, or that his repertoire choices too conservative. Most, though, admired pianist Alfred Brendel, who died on Wednesday aged 94, for his ability to make you believe to your very soul that every musical decision he made was right. Even his conservatism turned out to be right; in being so narrowly focused he left behind some of the landmark recordings of core repertoire, particularly Beethoven, Haydn and, above all, Schubert. – Richard Betts
