Amokura
By Shapeshifter
Released as an encore to Epetoma o te reo Māori Kūki ‘Āirani (Cook Islands Language Week), the new track by Shapeshifter is a chance for frontman Paora Apera (P Digsss) to invoke his Rarotonga roots with lyrics adapted from a traditional song titled after the Pacific migratory red-tailed tropicbird. That rhythm track originated from pate recordings by Apera’s family, so, yes, it’s log-drum & bass. If it doesn’t quite sustain its initial momentum throughout, it’s still one tropical heat-pump of a track.
Evicted
By Wilco
After last year’s twangin’ Cruel Country album, the greatest Americana-plus of its generation band haven’t exactly left the rustic acoustic approach behind on what is the first track from their forthcoming long-player, Cousin. It’s another of Jeff Tweedy’s break-up songs, which starts out as a solo-period George Harrison-like sweet amble and goes somewhere dreamy, possibly care of the album’s producer, Cate Le Bon.
Baby, It’s You
By Strawpeople
Not sure if this version of Baby, It’s You, the song that made late 70s Canadian group Promises a one-hit wonder, is the best of the many astute cover versions the local electronic institution has done over the years. Though it’s a good entry point to their new reunion album Knucklebones, with them choosing to keep it gloomily cinematic throughout and drop the double-time gearshift chorus of the original that made it No 1 in NZ in 1978 – and the song behind those wedding-dance television beer ads. This one might work more as a campaign song for an expensive and sullen gin.
Hold Tight
by Girl Ray
The band’s leader, Poppy Hankin, says that Girl Ray’s new LP Prestige takes production inspiration from Haim’s “incredible record” Women in Music Pt. III, and she’s not wrong. Aside from the North London trio being just that, the summery guitar and keyboard in Hold Tight, originally released as the album’s lead single, is fun, warm and disco-esque. Its simple lyricism only adds to the joys of not thinking too deeply about a romance, and it makes you want to dance as a disco track should.
Gone
by Bridges
Christchurch-born, Auckland-based indie-pop artist Bridges, aka Rachel Hamilton, certainly knows what’s what in the current pop landscape. Emotionally driven lyrics building in intensity alongside a grungy production is well-executed in her new single Gone. It’s reminiscent of early Lorde in its darkness, incorporating a ticking clock and electric guitar to hit the angst home. Bridges has spoken about trying to give every song of hers a good hook, and ideally many of them. So far, she’s sticking to her word.
The Trench Coat Museum
By Yard Act
The first new release for the funny funky Leeds post-punk quartet after last year’s breakthrough debut album The Overload is this electric epic, which, care of frontman James Smith’s fashion commentary, may do for gabardine what Taylor Swift’s Cardigan did for cardies, or that Prince song did for flat red French hats. It rattles along for a fevered eight minutes all rampant 80s electro percussion and crunchy bass guitar, sometimes sounding like Franz Ferdinand remodelling a New Order song – and there’s a remix on the B-side by NO’s old chum Arthur Baker. Great video, too.
