Unknown Mortal Orchestra - V

Good lord, the vibes. Utterly immaculate. Ruban Nielson has long been one of Aotearoa’s finest musical representatives, from The Mint Chicks into UMO, and you’re simply not going to hear a better sounding album for a long time. The guitars sound like velvet. The vocals are dripping honey. The band is rock solid and smooth as it gets. You could tell this was going to be a ripper when the singles Layla and Nadja each emerged sounding like neon moonlight in sonic form although trust that V isn’t all about the bangers. There are extended instrumental rides in there and a few slower subtle tracks which take a several listens to establish their earworm status. All of which lends even more gravity to the Orchestra’s mahi, coaxing you in closer before it smothers you in its sounds. This is R&B-tinged psychedelia the way it ought to sound, as though Prince was covering The White Album with a few sneaky Frank Ocean cameos, all mixed together and poured over ice, trickling out of the headphones in dance-able rivulets.

Leonard Charles - Heaven

Aotearoa's Leonard Charles drops a six-track collection of groovy bangers on 'Heaven'. The leading song by the same title is an uplifting dose of funk and Charles calls upon frequent collaborator Guilty Simpson for some bars on 'Shining Bright' which also features the soulful tones of Zyah Belle. The likes of A.C. Freazy, Leroy Burgess and Reality Jonez also make guest appearances in this short but sweet project.

Shana Cleveland - Manzanita

You can’t go wrong with Shana Cleveland’s work with the killer garage-surf group La Luz and you can’t go wrong with her folksier solo work either. Manzanita is a brush shrub found commonly in California with purported healing qualities – it’s their version of our kawakawa, to put it in more relatable terms. Sure enough, the album teems with the influence of the natural world... and also, according to interviews, the poetry/prose of Richard Brautigan and Gary Snyder. As well as a curious ghostly presence that sorta saunters throughout to lend a touch of eeriness to what is otherwise a really sweet listen, full of beauty and effortless brilliance. Mostly built around acoustic guitar with open tunings, there are a couple hints of mellotron to go with some occasional keys and synths and a bit of pedal steel. Obviously we’ve got ample examples of Cleveland’s gift for melody. It’s basically thirty-seven minutes of blissful magic, start to finish.

Navy Blue - Ways of Knowing

Full of introspection and healing, Navy Blue's new project 'Ways of Knowing' serves as a mellow soundtrack to the kiwi autumn. Navy offers clarity and concise poetry delivered on top of easy listening production from Budgie, coming together as a celebratory checkpoint in his Navy's journey. There aren't as many bangers that you will play for the homies but nourishing wisdom offered by Navy is likely to cut straight into your soul, just like comfy home cooking. Whether this is your first dose of Navy Blue or the latest check in, whack this on when the road ahead is cluttered and relax.

Quasi – Breaking The Balls Of History

Remember when Janet Weiss left Sleater-Kinney because she felt they were going down too much of a pop direction? This was after a ripper of a comeback album in 2015 but subsequent tunes had maybe marginalised Weiss’ thumping drumming prowess so there was a mutual split in 2019. Then Weiss had a car crash which sounded quite serious... but she’s back now, turning to another of her old bands. Quasi were formed in 1993 between JW and Sam Coomes but this one here is their first album for a decade. While Sleater-Kinney remain a first-ballot hall of fame 90s rock band, if their recent stuff was a bit too gentle for Janet then safe to say she’s found the solution. Breaking The Balls of History is such a fun album, ragged where it wants to be and ferocious where it needs to be. There’s a strong punk ethos but they also touch upon alternative, garage, and a bit of avant-garde rock in there too – Coomes and Weiss breaking down all their chops. And, yeah mate, the drums sounds absolutely righteous. Janet Weiss is truly one of the greats.

Surf Friends – Sonic Waves

More of those kiwi jams, as Auckland two-piece Surf Friends serve up another collection of those good jammy guitar grooves. One part surf-psych, one part post-punk. Sonic Waves is all about that hazy buzz, keeping things upbeat and day-dreamy. A bit harder edged than their previous work, something that feels like a natural evolution rather than a reinvention, yet still with those looped rhythms and woozy vocals which weave in and out of the noise. Seems appropriate that Flying Nun would be releasing a record like this given the clear lineage between Surf Friends and a band like The Clean.

The Veils - ...And Out Of The Void Came Love

Probably the best Nick Cave covers album you’ll hear this year in which none of the songs were written by Nick Cave. Finn Andrews (born in England, raised in Aotearoa, based in England) has always worn that influence very firmly on his sleeve. It’s a bit on the nose when he’s signing about the rings of saturn (there’s a lot of stargazing on this record) but Andrews is far too sharp a songwriter for his work to feel cheapened by the comparison. The lyrics aren’t as sharp as Cavey, so what, whose are? It’s also true that Cave hasn’t written a song as raucous as Bullfighter (Hand of God) for a couple of decades. This is the first Veils album for seven years and it’s a double album full of poetic introspection and distant yearning. Fifteen tracks, most of which live up to the title by depicting love emerging from the void or waiting for love to emerge from the void or reminiscing about when love emerged from the void. Soul food for the seekers among us.

Tyler, The Creator - Call Me If You Get Lost: The Estate Sale

A couple years after the release of Call Me If You Get Lost, Tyler, The Creator adds a eight tracks of extra funk in 'The Estate Sale'. Most of these tracks have had videos made for them and they follow on from the traveling, blissful theme of the original CMIYGL album. Vince Staples appears on 'Stuntman' and ASAP Rocky pops up on 'Wharf Talk' while YG has a guest appearance on the 'Boyfriend, Girlfriend track. Tyler is credited as a producer on all eight songs, but Madlib co-produced 'What A Day' and Kanye West helps out on 'Heaven To Me'. Tyler finds a groove in The Estate Sale as he provides a variety of delivery styles and blends glorious elements of hip-hop with his more varied musical taste. Each song and guest appearance is perfectly arranged, integrating the likes of Staples and Rocky into tracks that feel so vibrantly full. CMIYGL was a fabulous album and The Estate Sale hits like a concentrated version of the original.

H. Hawkline – Milk For Flowers

Bit of that good Welsh weirdness for ya. If you like Cate Le Bon, and there’s no logical reason why you wouldn’t unless you’re one of those people who only sticks to the meat and potatoes, then you’re going to dig this too. Hawkline works within similar boundaries of scuzzy folk-pop trippiness... in fact CLB actually produced this latest H.H album so there you go. There’s also very clearly an Aldous Harding comparison to be made as well if that reference works better for ya – those three really oughta form a supergroup. Highlights include the tracks Plastic Man, Athens At Night, and Mostly. Then it finishes on a beautiful note with the touching solemnity of Empty Room. Yeah this one goes alright.

Matt Joe Gow – Between Tonight & Tomorrow

Born in Dunedin, currently based in Melbourne. Matt Joe Gow, like most singer-songwriters with a triple-barrelled stage name, performs his tunes somewhere within the wider country music circle on the genre venn-diagram. In his case, we’re talking that peculiar Americana tag where rock and roll meets country meets blues... though there’s surely a better word for it when talking about a Kiwi working his way up in the Oz scene. Anyway, the first song here is called Shipwreck and it’s fantastic. The second song is ‘Til My Whole Heart Bursts and it’s even better. Third is the title track which is another darkened heartworn jam... and at that point you can’t argue with the bloke. There’s plenty more gold on the rest of the album even if none shines as brightly as the first three tracks but that trio alone is enough to announce this bloke as a Legitimate Threat. Gow’s been plying his trade for several years now, this ain’t his first rodeo. But with any justice it’ll be the ride that breaks him on through to the other side.

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