Happy Xmas (War is Over)
by Reb Fountain
As solo artists, McCartney and Ringo released Christmas songs. But the most enduring came from the least sentimental Beatle, John Lennon, who — with Yoko Ono and the Harlem Community Choir — offered Happy Xmas (War is Over) in 1971. Reb Fountain covers it, pulling out its plaintive and hymnal quality. One of the best versions among the many out there, necessary in this damaged world and, as she says, “we encourage all listeners to donate to a charity supporting peace and prosperity for all”. Happy Christmas. – Graham Reid
We Don’t Care
by Voom
By the standards of Voom – the Auckland outfit long-fronted by Buzz Moller, whose recording career seems to operate on geological time – having two singles released a year apart is quite the acceleration. After last year’s dreamy Magic with Fazerdaze, the latest is a return to the days when Moller’s songs started out as a nagging nursery rhyme and took off from there. Once heard, hard to shake. – Russell Baillie
Ruined
by Adrianne Lenker
It’s been a year since Big Thief’s remarkable shows in Auckland and Wellington and almost two since the release of the American folk-rock double album Dragon New Warm Mountain/ I Believe in You. There was a single out a few months back but the next release from the BT camp will be a third solo album by the group’s singer-songwriter Adrianne Lenker, who puts the guitar down for a ghostly devotional piano ballad that goes artfully wonky in the middle and goes big on the heartache throughout. – Russell Baillie
The Robin
by Kimbra
For a second there it looked like Kimbra was just somebody that we used to know. Five years after her last album release, Primal Heart, the New Zealand-born artist returned with A Reckoning in January and now the album has a deluxe version to wrap up the year with. It’s a mellow blend of modern electronica moments and more soulful, almost jazzy takes. One deluxe track, The Robin particularly so, with lyrics to match: “I’ve been wrong, I’ve been right, I’ve been wrong again / I watch the Robin wonder whether to fly into the rain.” – Alana Rae
Save the Planet
by Park Rd
This Auckland pop-rock five-piece seem just a hook or two away from being world famous in NZ. And this sweet and squally number which, despite the title, isn’t an eco-anthem, just might be the song that makes them 2024′s Dance Exponents/Zed/Evermore. – Russell Baillie
I Want More
by Sons of Zion ft Tawaz
After more than a year on the charts with their First XV compilation — still steady at number two as we write — Sons of Zion drop another undemanding, easy listening if lyrically underwhelming love song for beach nights with a gentle rap in te reo Māori by Tawaz. A lot of useful boxes ticked but a nice soulful delivery. Chart appeal. – Graham Reid
Close One (Acoustic)
by FIZZ
The eclectic amalgamation of musicians that is FIZZ has pulled back to expose the deep cuts behind Close One, a single off their October album The Secret to Life. The London group, composed of Orla Gartland, Dodie, Greta Isaac and Martin Luke Brown, have fun with production and social commentary in the album. But in the acoustic version of Close One, Gartland leads the group with her powerful but restrained vocals, which are aptly emotional describing a relationship that cannot be seen through. –Alana Rae
Blush
by Missy
From the Auckland singer-producer, smart, lyrically interesting beat-driven and R’n’B-influenced pop which as she notes is “all contradictions, and obfuscation. Denying an overwhelming attraction in a whimsical fun way”. All true, and with bantamweight verses and a catchy middleweight chorus this moves neatly from outlining an awkward situation into internal thoughts. As she sings, “it’s complicated”. Impressive fifth single this year signalling an album in 2024. – Graham Reid
The Opal Dream Cave
By Natasha Te Rupe Wilson soprano, Somi Kim piano from The Earth Child
In this week’s print issue, I list my five top classical albums of 2023. My favourite local release was (spoiler!) The Earth Child, from soprano Natasha Te Rupe Wilson and pianist Somi Kim, two musicians who have known each other since high school. The Opal Dream Cave, by Hamilton composer Janet Jennings, is a setting of a Katherine Mansfield poem, and if you listen while reading the text, you’ll hear just how clever Jennings’ piano part is. Wilson, meanwhile, sounds better than I’ve ever heard her, and it’s no surprise that Kim says this is her favourite track on the album. – Richard Betts
