Euphoria
By Kendrick Lamar
Although this starts quiet, Lamar gets down to the serious dissin’ business and starts name-checking his lyrical foe Drake with “know you a master manipulator and habitual liar, too/but don’t tell no lie ‘bout me, and I won’t tell truths ‘bout you.” Then he gets real personal. It’s a clever, sassy, and lyrically crowded six-and-a-half-minutes which ups the stakes. Expect a response from Drake, he can hardly ignore this. – Graham Reid
Empty Voices
By Thomas Powers and Julien Baker
Another track from the forthcoming debut solo album by the LA-based Naked and Famous singer, Thomas Powers duets with Julien Baker, one-third of US indie supergroup boygenius. His mellow vocals and talented production hand marries Baker’s knack for devastatingly beautiful lyricism in this satisfying single. Empty Voices is an intricate tale of a complex, seemingly exhausting relationship, Baker repetitively sings a warped “you leave me breathless, breathless”, capitalising on its good/bad double meaning. – Alana Rae
Pikipiki
By Geneva AM
In these difficult days, this electro-pop waiata in te reo Māori comes as an uplifting and optimistic dance track from Geneva Alexander-Marsters (Ngāti Ruapani mai Waikaremoana, Ngāti Kahungunu ki Wairoa, Aitutaki, Palmerston) and her support staff of Mara TK, Samara Alofa, Hawkins and Rewi McLay. Pikipiki refers to climbing towards a better future together. A tiny complaint? It’s so enjoyable it could be twice as long. Terrific single. – Graham Reid
Kiss The Sky
By Rita Mae
The Auckland songwriter and artist is back with a rockier, sensual new single following last year’s debut album Superfeeling. Kiss The Sky is what Mae describes as a “new era” embracing fun, boisterous lyrics driven by some punchy electric guitar and elaborately layered vocals. It was co-written by The Naked and Famous’ Alisa Xayalith, hence this leaning toward a big, booming chorus with satisfying melodies. It’s an impressive release from Mae that wouldn’t be out of place among the top indie-pop artists right now like Chappell Roan or Girl in Red. Its music video directed by Oscar Keys, who’s lent his creative hand to the likes of Broods and RIIKI REID, is a dark and dynamic accompaniment, too. – Alana Rae
Call Me Up
By Park Road
Final single before their debut album The Novel (May 24) for these popular locals which speaks of the prep for a night out, but with the casual indifference of a teenage boy being cool. However, this short piece of undernourished pop never quite takes advantage of the title/chorus which doesn’t reach for the anthemic scale it was capable of. Bound to be a crowd pleaser though. – Graham Reid
Song to the Siren
By Garbage
Last month’s Record Store Day delivered The Lie to Me EP from the revived 90s electro-grunge outfit fronted by Shirley Manson and featuring era-defining producer Butch Vig on drums. Their take on the Tim Buckley folk lament takes its cue from the hit This Mortal Coil version of 1983, though goes big and Bond theme-like at the end. A multitracked Manson makes nice ghostly work of the vocal, though she doesn’t’ use the original’s classic line “I’m as puzzled as the oyster,” maybe due to seafood allergies. Another step, possibly, in the song becoming the new Hallelujah. – Russel Baillie
Finchdean
By Bruce Paine, composer, guitar
In this week’s print edition, I write that New Zealand guitarist/composer Bruce Paine’s music is deceptively difficult. Here’s an example. Finchdean, inspired by the English countryside and a 14th century chapel, sounds like a straightforward mood piece but it’s complex enough for Paine to have written a second, easier version for guitarists lacking Paine’s facility. Paine’s new album, ...still we sang, is released on May 12. — Richard Betts