Well, that’s a worrying song title for Auckland indie guitar pop wonders the Beths (pictured above by Frances Carter), especially as this single is the first release after signing to Los Angeles label ANTI, which, as an offshoot of Epitaph Records, has roots in 1990s Californian skate-punk. But it’s actually a quieter, gentler Beths. The “metal’ of the title is about the need for iron in the blood in a song of physiological lyricalallusions. Which might also risk some smartass saying it’s a bit anaemic. But it’s got a healthy rosy-cheeked jangle of electric 12-string and acoustic guitars to it, carrying some intricate harmony vocals, behind a lilting main melody that might remind some of when The Mutton Birds walked the earth. Comes complete with another Beths-on-weird-group-outing video.
LightBulb
by Ladi6
Heading towards new album Le Vā and a national winter tour, Ladi6 follows Alofa from late last year with another song that’s her voice taking a warm, bubbly bath in vintage electronica but also one that creates its own tension by the protracted expectation of when the drums will come in. Spoiler: They don’t. Apparently, producer (and husband) Parks decided to take them off after they were recorded. A lightbulb moment, it seems, and this has plenty of wattage without them. – Russell Baillie
Melodie is a Wound
by Stereolab
Indie-pop darlings return with this sophisticated slice of leisurely French-style haziness from singer Laetitia Sadler and underpinned by a terrific groove. It comes in a seven minute-plus version and a five-minute edit, the long version allowing for some deconstructing guitar work, the shorter one – linked to here – for late evening radio playlists. The second single – after the bright Franco-pop of Aerial Troubles – in advance of the new Instant Holograms on Metal Film album due May 23. – Graham Reid
Lemonade Sunset
by Half Japanese
Generally an acquired taste, the long-running Half Japanese project of Jad Fair here present a short and charming piece of optimistic, speak-sing about how “everyone is lucky to live in this wonderful world of wonderment”. Given the state of things this may sound hopelessly naive, but they carry it off and things do feel better after these 2.22 seconds. From the same people who brought you Miracles Happen Every Day. – Graham Reid
Auckland band Ringlets is signed to Flying Nun for the next album, and you might wonder from the sound of single Street Massage whether the label will be filing them down the dark, industrial end of the warehouse alongside the back catalogues of the Skeptics, Children’s Hour and This Kind of Punishment. According to frontman Leith Towers via the press release, “the song is about a low-wage masseur who plies his trade on the streets of Point Chevalier.” Funnily enough, the guitar band’s low-slung, high-energy, post-punk attack on this is liable to put a crick in your neck. – Russell Baillie
Pray for Rain
by Michael Llewellyn
With a voice barely above a croaked whisper and arriving at a slow crawl, this piece of life-affirming and metaphorical folk – with support from the Avondale Intermediate Choir – isn’t a single that’s going to set expectations alight for his forthcoming second album I’m Gorgeous (May 20). For that kind of excitement, you’d need to go back to the more edgy, menacing and filthy guitar attack of his earlier The Fish Song which we covered in this column earlier. Taken together though they banner an album with some diversity. – Graham Reid
Cirrus Homebound
by Baby Zionov
Straight out of the excitable electropop of Empire of the Sun, MGMT and others on a high sugar intake, this furiously fast instrumental (167 bpm apparently) may have a minimal melody above the surging beats, but its simplicity is as memorable and as annoying as the Chipmunk vocal which kicks it off. Local happy hardcore which is hard to shake off. – Graham Reid
Sarva-ātmanah, Sarah Ballard
By Robert Ashworth viola, Sarah Watkins piano
Sarah Ballard is unique among New Zealand composers. A practitioner of bhakti yoga, she uses meditation as a method to create her music. This lovely piece for viola and piano was composed for Robert Ashworth and Sarah Watkins. The pair recorded it for their album Moonstone, which won the classical category at the 2022 Aotearoa Music Awards. #NZMM – Richard Betts
