Can’t Get Enough
By Jennifer Lopez
First single from J.Lo’s forthcoming album This is Me . . . Now: A Love Story (her first in decade, not to be confused with 2002′s This Me . . . Then from her first “Bennifer” period). It finds the megastar almost lost for words in the throes of sexual heat and passion, as she reminds us by repeating the song’s title and can’t finish a sentence: “I just wanna . . .[sigh/moan], I just feel like [sigh/moan], every time I see you it’s like . . . oh, hey”. Catchy, good beat but let’s hope if the album’s a love story as promised there are more details. – Graham Reid
After the Revolution
By Marlon Williams
Williams is the latest to join a lengthening queue which has included Jeff Tweedy, Kevin Morby, Steve Gunn, Julia Jacklin and Mary Lattimore in a series of artists covering songs of cult English singer-songwriter Bill Fay, who made a long-awaited comeback with his 2020 album Countless Branches. The song is from Fay’s lost album Tomorrow, Tomorrow and Tomorrow which was recorded mostly in the late 1970s and is due for full release next month. Williams’ tilt, which turns what was a sardonic Lennon-esque song, into a gospel-tinged ballad is predictably lovely and ethereal, though a slightly less authentically creaky piano might have helped. – Russell Baillie
Friend of a Friend
By The Smile
From the imminent second album by Radiohead moonlighters Thom Yorke and Jonny Greenwood, this recalls the artsy jazz shapes their old band was throwing in its Kid A days. What with a song that comes out swingin’ gently on piano, drums and strings before doing some time crafty signature bending while Yorke entertains some dark thoughts about the neighbours. – Russell Baillie
Trying to Have a Conversation
By By Tomorrow
The piano sprinkled over By Tomorrow’s new track Trying to Have a Conversation blends the rocky, surfy song into something more elegant. The Canterbury-based band’s new track is clean, simple and would be energetic played live, depicting a sombre miscommunication in its lyrics and a danceability in its electric guitar. – Alana Rae
Beautiful People (Stay High)
By The Black Keys
They were once a blues band. Now, by the sound of this groovy confection – essentially one big bassline underneath a nah-nah-nah Banana Bunch chorus – they’re a rhythm one. Might remind some of when Primal Scream went funky. Infectious then forgotten. – Russell Baillie
OMG
By Suki Waterhouse
Maybe in lieu of what would have been her Auckland Laneway festival debut (which she understandably called off, very pregnant), Suki Waterhouse is treating us to the vibrant new lead single off her forthcoming sophomore album. She has a knack for dreamy, beautifully-written pop, like that of her songs To Love and Moves, but OMG takes a more moody turn. It’s catchy and plays like a grungy ABBA track with plenty of layered guitar. – Alana Rae
Seven Out
By The Lemonheads
The Lemonheads’ Evan Dando has been one of the greatest lost promises of alt-rock-cum-country artists since the 90s when he delivered memorable albums (Lovey, It’s a Shame About Ray, Come on Feel the Lemonheads). Since then everything devolved into lesser returns and two odd covers albums (Varshons and Varshons II). There’s just enough of his weary country-rock gifts on this likeable, Dando-familiar cover of a Vaselines/Eugenius song. There’s talk of new Lemonheads music, but he’s been saying that since 2006 so . . . Good song, although he can do this stuff in his sleep. – Graham Reid
Say Goodbye
By Future Islands
Baltimore’s Future Islands announce their seventh album People Who Aren’t There Anymore (out Jan 26) which sounds impressively diverse and promising. We know this because the driving, dynamic, heart-bearing and wordy Say Goodbye is the sixth single released out of the 12 songs on it. Future Islands: giving dramatic and meaningful art-rock-cum-synthpop a good name for almost two decades. – Graham Reid
Space Oddity
By Wilco
Last week was David Bowie’s 77th birthday and the eighth anniversary of his death and so just time to release this cover from a forthcoming compilation of performances from the Mountain Stage show on America’s National Public Radio (NPR) commemorating 40 years on air. It might be a low-voltage folk-club take, but it’s still impressive how Jeff Tweedy and band replicate the original’s odd sonic details in a very Wilco-esque way. Doesn’t quite escape the gravity of the original but achieves its own low orbit. – Russell Baillie
Galuppi, ‘Confitebor tibi, Domine’.
By Véronique Gens soprano, Gérard Lesne alto, Peter Harvey bass, Il Seminario Musicale.
If you’re unfamiliar with Baldassare Galuppi’s music, blame Napoleon. When the Frenchman invaded Venice at the end of the 18th century, many of Galuppi’s manuscripts were lost. In his day, though, Galuppi (1706-1785) was one of the leading musical figures of late-Baroque Venice. He wrote more than 100 operas, and held senior positions at the point of religious, political and artistic singularity that was St Mark’s. The motet Confitebor tibi, Domine dates from 1733, when Galuppi was just on the cusp of fame. – Richard Betts
