Common Blue
By Warpaint
The opening drums set a lighter tone in Warpaint’s new single, Common Blue, before the indie rock band’s lead singer Emily Kokal brings a darker inflection seconds later with her deep, moody voice. The harmonies in the hook are higher though, and a fun Jungle-esque falsetto moment matches the quartet’s vibe perfectly with its contrast. It’s a layered, well-crafted production piece that leaves you wanting to listen again to see if you can catch something you missed the first time. - Alana Rae
Grasslands
By Greg Johnson
A dreamy pop-song-as-landscape as painted by Los Angeles-based, Auckland-raised singer-songwriter Greg Johnson in shades of black and white ivory, trumpet brass and nylon guitar. It’s the lead single from his 13th – yes 13th – studio album out this weekend. He’s home to tour next month. – Russell Baillie
I Forgot to be Your Lover
By the Black Keys
This cover of 84-year-old William Bell’s beautiful, regret-filled 1960s ballad is given a sensitive 1970s psychedelic twist by the Black Keys, who get under the skin of this kind of sophisticated soul music. This follows their Beautiful People (Stay High), a Sly Stone-influenced/Happy Mondays-like dance-soul single in advance of their new album, Ohio Players, due April. Should be a good ‘un on this evidence. – Graham Reid
Mustang
By Kings of Leon
“Are you a mustang or a kitty?” What are you all about?” Once again, Kings of Leon, the band of bros and a cuz whose previous album was released as a non-fungible token (remember those?), are asking the big questions. There will be more of those, no doubt, on the question-mark-challenged forthcoming album Can We Please Have Fun. – Russell Bailie
Last Frontier
by Ride
This influential Britpop band arrived between the Stone Roses’ classic debut and Oasis’s Definitely Maybe, but after two fine albums couldn’t sustain the momentum of their wide-screen shoegaze rock. But interesting post-Ride individual careers (in Oasis, Liam Gallagher’s Beady Eye, etc) meant the members remained in the game, inevitable reunions happened, new albums arrived and they’ve been a going concern this past decade. They return with this archetypal blend of heroic melody, cinematic guitars and Joy Division-like monotone as a solid announcement for the new album Interplay, due late March. - Graham Reid
Not My Leader
By Modern English
A familiar sentiment these days in many countries — democracies or otherwise — but this, from Britain’s long-running, off-and-on-again post-punks, might capture the belief but not much of the anger in lyrics that are just a wee bit lame: “It’s like you live on Mars / Stealing all our hearts / Invade a mind today / Yes, just takeaway”. Huh? Not quite the anthem to make you burn a flag or storm a barricade. – Graham Reid
Freedom of Speak (We Got Three Minutes)
By De La Soul
One of the charmingly old-school previously unheard tracks that is getting a digital release as part of the 35th anniversary of De La Soul’s classic debut, Three Feet High and Rising. It possibly took that long to get the James Brown samples past the lawyers. – Russell Baillie
Mathias. ‘Andante’ from Concertino Op 65.
By Brian Luce (flute), Sara Fraker (oboe), Marissa Olegario (bassoon), Rex Woods (piano)
William Mathias (1934-92) is best known for his vocal music, particularly the cheery Let the people praise Thee, O God, which he wrote for Charles and Diana’s wedding. However, his compositions covered a wide range, including three symphonies, 12 concertos and a decent number of chamber pieces, including the beguiling Concertino Op 65. Welsh to his core, Mathias was head of music at the University of Wales, Bangor, and founded the North Wales International Music Festival, remaining director until his death. Have a great St David’s Day. - Richard Betts
Where Were You
By Kaylee Bell
Amid a couple of more upbeat releases comes a sombre ballad from New Zealand country star Kaylee Bell. It takes to her voice rather than any kind of beefed-up production, a sweet harmony arriving on the second verse and settling in for the bridge. It’s a well-written melody, giving the listener just what they want in a sense of completion at the end of the chorus, when she intones the song title, “I was there, where were you?” - Alana Rae
