Death Valley High
By Orville Peck and Beck
Masked man country singer Orville Peck knocks out another joint effort from his forthcoming Stampede album of duets with the help of Beck, who at times sounds here pretty much like he did back in his Devil’s Haircut days. Enjoyably funky in a very Elvis in Vegas kind of way. And in case you are wondering, there is no high school in Death Valley. – Russell Baillie
Oh Why
by Leisure
One part dreamy soul-pop ballad, one part seduction in the manner of a baritone Barry White, this collaboration between internationally acclaimed locals Leisure and Australian duo Two Another gets under the skin of doubts in a new relationship with plenty of languid, 2am yearning. A lush soundscape for moping and reflecting. – Graham Reid
Scenes
By T.G Shand
A new release from T.G Shand’s coastal-inflected brand of shoegaze. Scenes is a sweet, two-minute number with warm textures, lush vocals and lead guitar reminiscent of The Cure’s Pictures of You. Annemarie Duff writes and produces this project from Ōtautahi, Christchurch. An enthusiast of the genre, Duff has her own playlist, ‘Shoegaze from Down Under’, featuring Auckland’s Fazerdaze, Brisbane’s Hatchie – and back to where it all started – Flying Nun’s Bailterspace. Scenes is accompanied by a lovely pastel-coloured animated music video representing scenes from the vibrant Lyttleton community. – Sam Clark
Overdrive
By Bella Raffyn
The debut solo single by Bella Raffyn, also known as the voice of young Auckland band Coast Arcade, who seems to be being groomed for bigger things care of the mentorship of Six60′s Chris Mac and his band’s label Massive Records. This one is big grunge-pop ballad with a message about personal boundaries and alcohol-powered late night urges and – fittingly, given it’s her first release under her own name – being happy in her own company. – Russell Baillie
Fall at Your Feet
By CYRIL (featuring Dean Lewis)
It’s not the first time the Crowded House song has had a 2020s dancepop makeover, with Peking Duk and Julia Stone having already had their way it. This one is by Aussie rising star DJ-producer Cyril Riley, recently in NZ to play the Ohakune Mardi Gras, and sung quite nicely by fellow countryman singer Dean Lewis. Anyone taking bets on if this one goes viral like Cyril’s previous makeover, his redo of Suzi Quatro and Chris Norman 1978 duet of Stumblin’ In? – Russell Baillie
Making Good on My Promises
by Steve Wynn
A few decades ago, this Steve Wynn – not to be mistaken for the billionaire American property developer – lead the great US indie rock band The Dream Syndicate. He then embarked on a slightly wayward solo career, pleasing himself in the company of various members of R.E.M, Giant Sand, Green on Red and other admirers. His previous Make It Right single erred towards pedal steel alt-country but here he dives straight back into chunky, horn-driven guitar rock. These signal a long overdue new album Make It Right and the simultaneous release of his memoir I Wouldn’t Say It If It Wasn’t True on August 30. Suddenly a lotta good news for Wynn loyalists. – Graham Reid
Whetū Rere
by YAHYAH
Clean, simple and emotionally warm bilingual electro-pop from a local artist with connections in Los Angeles and London who sings of finding your place by coming home to whānau. – Graham Reid
Grandmother
by Lou’ana
The great local soul and R’n’B singer takes her time on this mesmerising song which opens with a distant hymn in Samoan (sung by Lou’ana’s grandmother) and then, over a stalking groove, reaches to almost seven minutes as wah-wah guitar and percussion pick up the intensity and low, swampy funk behind Lou’ana’s impressive vocals which shifts from earthy to seductive. Another excellent entry from one of our best. – Graham Reid
Blue (2013 archive)
By Leon Vynehall
Known for his invigorating mixes – namely on the Fabric and DJ Kicks series– UK DJ-producer Leon Vynehall has gifted us with Blue, a previously unreleased track for the 10th anniversary of his EP, Music for the Uninvited. Like the rest of the project, it’s a homage to his mum’s funk, hip-hop and dance mixtapes they listened to car on the way to school. There’s a nod to Roy Ayers’ classic Everybody Loves the Sunshine – with its iconic sweeping drone synth and sparse vocal sampling. This is paired with Burial-style muted, restrained drums – creating a simple, yet intoxicating groove with dub textures. Listen closely, and hear the layers interweave. It’s easy to imagine a young Vynehall driving with his mum, soaking up these influences. – Sam Clark
Montgeroult, Concerto for Fortepiano No.1 in E-flat (after Viotti)
By Élisabeth Pion fortepiano, Arion Orchestre Baroque, Mathieu Lussier conductor
Hélène de Montgeroult (1764-1836) was a gifted composer at a time and a place when composition wasn’t much on people’s minds. She was born into minor nobility in 1764, married into slightly less minor nobility, and gained a reputation as one of the foremost keyboardists of her time. Then came the French Revolution. It is said – perhaps apocryphally – that Montgeroult was spared the guillotine only by improvising a spectacular fortepiano version of La Marseillaise for the Revolutionary Tribunal. After the Terror, Montgeroult’s fortunes took a turn for the better, and she became the first female professor at the brand new Paris Conservatoire. Happy Bastille Day! – Richard Betts
