Coca-Cola Girl
By Gracie Moller
Another impressive song by Auckland-bred, overseas-aiming singer-songwriter Grace Moller that gets much of its charm from her first-person reports from the frontlines of Gen Z heartbreak. The daughter of Voom frontman Buzz Moller, she’s inherited not only his gift for a hook but the ability to be lyrically both heart-on-sleeve and humorous. Though she does it with a production that makes this sound like it would be just the thing over the end credits of a Netflix rom-com. It’s not an endorsement for the title beverage either, though it is sparkling pop. – Russell Baillie
Make Happy
by Jason Derulo, Jawsh 685
Four years after US pop star Derulo purloined a rhythmic hook from teenage South Auckland beatmaker Jawsh 685 and made an international hit – Savage Love (Laxed – Siren Beat) – out of it, the odd couple reunite under actual contractual arrangements to deliver a very sunny pop-reggae beach-hop of a tune. It may well do the same thing as its predecessor should it find a warm reception on planet Tik Tok. – Russell Baillie
David Blaine
By Robinson
The London based NZ singer-songwriter goes for wide-screen guitars and a keening vocal on the surging chorus on a track named for the celebrity magician but apparently addressing her own younger years battling eating disorders. The illusionist namecheck is both an attention-getter and an intriguing allusion, given Blaine’s propensity to self-torture including that time he starved himself in a suspended plexiglass box. – Russell Baillie
Before You Have to Go
by Macey
One of the better local albums last year was The Lovers by Harry Parsons (AKA Macey). His weary voice and delivery suited the downbeat songs of love, relationships and life. This finger-picking acoustic single has an intelligent philosophical take on an end-of-life father and son dialogue: “When you fall apart you pick the pieces up again … don’t let a little heartbreak be the sum of all your parts”. One of the more thought-provoking singles of the year. – Graham Reid
Track 1 (2024)
by ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლ
New from Four Tet’s Kieran Hebden under his Unicode alias, for the first time since 2022. Part of a four-part EP, the leading track is an immersive soundscape that’s equally danceable. Beginning with a reversed drum loop – Hebden makes full use of stereo sound by dubbing layers of snare drums left and right. Full of sparkly harpsichord synths and bird-like tweets, the melody’s reminiscent of Sixteen Oceans’ ‘Insect Near Piha Beach.’ Enjoy with headphones, or on your home hi-fi. – Sam Clark
Sanctuary
by Damien Binder
Amidst all the mellow, reggae/soul sounds aimed for summer airplay, Perth-based expat Binder heads in a similar direction but couches his work in the singer-songwriter tradition, emphasis on the “song” part of that description. Brought to life by acoustic guitar, airy keyboards and Binder’s feel for a chorus, the lyrics celebrate a refuge in this weird world. – Graham Reid
Amoss Idjraw
by Tinariwen
Fresh assouf music from the Sahara Desert. Tinariwen’s hypnotising blend of traditional Tuareg rhythms with Western rock music has been celebrated worldwide since 2001, with an ever-evolving lineup. The rhythm section is driven by offbeat drums, as well as claps and a stripped-back bassline. Clean-toned lead guitar is largely left alone – aside from some mandatory reverb. – Sam Clark
Gesualdo, Sparge la morte al mio Signor nel viso
By Collegium Vocale Gent, Philippe Herreweghe, director
It’s too obvious, isn’t it? Too pat. It’s so tempting to say that the discordant music written by Carlo Gesualdo, murderous Prince of Venosa, who killed his cheating first wife and her lover in their bed, reflects the composer’s splintered emotional state. Perhaps. For its time (late-16th, early-17th centuries), though, this is undeniably weird music, written by an undeniably weird, problematic man. Beautiful though, eh? – Richard Betts
