All Falls Down
By Lizzy McAlpine
Lizzy McAlpine’s newly released, and quietly contemplative album softly speaks about some pretty devasting relationship woes. Conversely, its fourth track, All Falls Down, is particularly fun and ever so slightly more upbeat in its use of twee flutes and piano solos. Make no mistake, it’s still in keeping with the existentiality of the American singer-songwriter’s other songs as, over trumpets, she sings she “can’t stop the time from moving” and “can never get it back.” – Alana Rae
Teenage Summer
By Crowded House
We could be mean and say the average age of Crowded House’s 2024 line-up is about 55 so all things adolescent are quite a distant memory even for the younger members of the Finn family firm. But this swirl of 12-string guitars, marching band beats and Simon & Garfunkel-esque vocal harmonies, on lyrics that aren’t sunny nostalgia but something more enigmatic, is quite the exuberant pop banger. One that bodes well for the new album out next month. – Russell Baillie
Martin Phillipps
By Voom
Those already describing this indulgently funny Voom ditty song as a “tribute” to the head Chill might need to know the back-story. On The Chills’ The Lost EP from the mid-1980s, the closing track Dream by Dream had Phillipps and then bassist Martin Kean singing about the latter’s departure from the band (“they killed my best dream dead”) having been given his notice by the frontman. Which was odd. Kean, who would go on to a gig with Stereolab then an academic career in graphic design, is the cousin of Voom songwriter Buzz Moller. So, this song isn’t just an ode to Phillipps’ nerdiness, it’s a song reacting to a song – some 40 years later. Plus, it’s a gentle act of revenge against The Chills’ staff policies of the past. Meanwhile, the momentum towards Voom releasing its third album in 26 years builds up yet more, um, steam. Oh, and coincidentally, there’s a new version of The Lost EP out for this month’s Record Store Day. – Russell Baillie
Good Luck, Babe!
By Chappell Roan
Roan has shot up into a new level of fame as of late having opened for Olivia Rodrigo on her Guts tour. Recent release Good Luck, Babe! is a showcase of her higher range with a satisfying belt to finish off the bridge. A creatively produced ending as well, as if it’s a vinyl slowing down – so vintage! – Alana Rae
United States of Division
by Prince
Just as he proved prophetic with his socio-political classic Sign o’ the Times in 1986, this 2004 track – finally released into the digital wild by his estate, having been previously released as a Europe-only B-side – showed Prince’s funky way with a protest song, the sentiments of which could have been written yesterday. Though, you might wonder if the estate of Sly and the Family Stone might think some of this was first written a very long time before 2004. – Russell Baillie
Grave Pressure
by Earth Tongue
Fuzzy, relentless, enjoyably shouty, psychedelic-influenced rock by guitarist/singer Gussie Larkin (of Mermaidens) and drummer Ezra Simons to announce their new album Great Haunting. Stripped-back rock chopped and channelled for maximum intensity. Loud is the only option. – Graham Reid
Honey
by Caribou
Dancefloor directed, minimalist techno by award-winning Canadian producer/remixer Dan Snaith (Caribou) which shifts shapes and dynamics to keep things interesting and unexpected. What sounds simple on a first hearing offers cleverness and enjoyment with every play. Loud is better. – Graham Reid
Jacopo Peri, ‘Tra le lagrime e i sospiri.’
By Ellen Hargis soprano, Paul O’Dette chitarrone, Andrew Lawrence-King harp
NZ Opera launches its 2024 season this week with Jonathan Dove’s Mansfield Park. We’re used to opera now, but what must it have been like in 1597(ish), when the first opera was performed? That work, Dafne, was written by Jacopo Peri (1561-1633), a musician in the Medicis’ Florentine court, and nicknamed Il Zazzerino for his shock of reddish-blond hair. Most of Dafne’s music is lost (and these days Monteverdi’s L’Orfeo is regarded as the first decent opera anyhow), but many of Peri’s songs remain, including this one, whose subject matter and title – ‘Between tears and sighs’ – belie the song’s sprightly triple-time dance.
