P.J Harvey
White chalk
P.J Harvey has always been a defiantly independent and challenging artist and her eighth studio album is no different. Abandoning her guitar in favour of the piano, a new instrument for Harvey, the result is a collection of affecting gothic ballads that play on the mysticism and instrumentation of British folk traditions.
In an interview in The Wire magazine Harvey stated that "the great thing about learning a new instrument from scratch is that it...liberates your imagination." And for previous P.J Harvey fans you will really hear this on White Chalk. White Chalk sounds like Harvey is challenging herself, she extends the range of her voice so that it often sounds fragile and uncomfortable but this only further serves to make the dark world she creates more compelling.
This really is a beautiful album and I wholeheartedly recommend it as one of my very favourites.
-- Gwen, Central
Shocking Pinks
Shocking pinks
Nick Harte, aka Shocking Pinks, got approached by the uber-hot DFA label a few years ago, and now free from the shackles of his Flying Nun contract, we get his DFA debut, essentially a compilation of his last 2 Flying Nun albums. Some tracks are more fleshed out than others but the spontaneous hit and miss nature of this disc is all part of its off the hook charm. Harte's personal mix of simple pop melodies, dreamy guitar arpeggios, shogazer effects, unabashedly romance-obsessed lyrics, and almost-too-heartbroken-to-sing-but-only-doing-so-will-save-me (phew) vocal delivery is always charming, and often moving.
-- Simon, Central
DJ Reminise
Stay reminiscing
DJ Reminise is one of New Zealand's leading R&B hip-hop DJs, whose reputation will only be enhanced by the release of his first mix album, Stay Reminiscing. Interspersed with scratch breaks by Reminise himself, Stay Reminiscing contrasts hip-hop tracks by LL Cool J and Eric B & Rakim with more soulful, R&B style tunes by Teddy Riley, Joe and Sounds of Blackness and even an old remix of Won't Talk About It by Norman 'Fatboy Slim's' old outfit Beats International. His selection of material reflects on his name.
- Leitu, Central
Talib Kweli
Eardrum
His fourth solo release, “Eardrum,” finds Kweli back in his musical comfort zone — a myriad of neo-backpacker producers, who count Kanye West, will.i.am, and old buddy Hi-Tek among their number, have constructed a pleasing if conventional soul- and jazz-infused street poetry soundscape for our MC to explore. He still shines lyrically on this effort, dropping hot gems all over the place. Eardrum is easily one of the 2007 Hip hop best releases, and deserves every single accolade, or bit of praise it gets (or should be getting). To those, who thought Talib Kweli was an MC of the past, or a shell of his former self, this album is the epitome of anything we could have ever wanted from him (besides a new Blackstar LP).Though the album is certainly a solid record, it still lacks the mainstream appeal it needs to succeed so it’ll be given a 9/10. Pick up this new classic, and bump it until your Eardrums hurt.
-- Leitu, Central
Scribe
Rhyme Book
Yes, the man Scribble aka Scribe is back! After a long awaited 4 years, Scribe has come back bigger and better. Working along side with names like P Money, Talib Kweli, PNC David Dallas his cousins Ladi 6 and Tyra Hammond. His songs a distinctively sounds like scribe. Keeping it real and wholesome. Scribe’s sound is mature yet fresh. Coming back with his single My Sh*t produced by 10Aciouss. There are treats like A.W.O.L, Say it again, Be alright, Fresh, Rhymebook and more. If you haven’t listened in on this, get it out now! My head is definitely bopping to Say it again. You Hip hop fans won’t be disappointed. The crusader is back!
-- Leitu, Central
Hollie Smith
Long Player
Dominating single from the acclaimed feature film no.2 ‘Bathe in the River’, the talented soulful musician is now celebrating her solo album. Best known for her own soulful 2005 EP.
Smith's album hasn't been all deep and meaningful. She's also had a fair bit of fun. The songs were written over four years ago after which Smith spent a fair bit of time last year searching for the right musicians to play and record her songs with her. As someone who's worked with the likes of Trinity Roots and the Fly My Pretties collective, she had plenty of contacts among local musicians to choose from.
A major component of Long Player is the combination of outstanding vocalists & arrangements, along with Smith’s lead vocals are an ‘All Star’ line-up of backing vocalists:Deva Mahal (Rhombus), Lisa Tomlins (Fat Freddy’s Drop), Rio Hempo (Trinity Roots & Break Co-Op) and P Diggs (Shape shifter).
Another local must have album. I already have my favourite songs on my programme function installed. She’s definitely ‘Off the Hook’. Really looking forward to the next album.
-- Leitu
Queens of the Stone Age
Era vulgaris
Never content to rest on their laurels, QOTSA have produced their most complex work yet, the lurching, twisting, staccato freakshow that is Era vulgaris, proudly playing the joker much like Mechanical animals did for Marilyn Manson.
Picking up where Lullabies to paralyze left off, it’s a constantly changing album, soft and wistful one moment, then shrieking and stomping the next. Into the Hollow, Suture up my Future, and Running Joke run in the same vein as I Never Came or Long Slow Goodbye; While at the other end of the scale, I’m Designer and Battery Acid are even more warped and distorted than Broken Box or Skin on Skin. There are still plenty of typical spooky and sleazy QOTSA grooves in tracks like Sick Sick Sick, Misfit Love, River in the Road, Run Pig Run, and Era Vulgaris. For those who love the eponymous first album best, next single 3’s & 7’s should be a favourite, but for those who love QOTSA’s continual evolution from one album to the next, Era Vulgaris is pennies from heaven. Best lyric so far: “Fear of failure’s all you’ve started/ The jury’s in, Verdict: Retarded…”
-- Richard, Central
Various artists
Music to watch girls by
A compliation of 35 crooner classics, which are perfect to listen to when you’re in a cruisy mood.
From the eponymous track by Andy Williams, to Deano at his slurred best in ‘That’s Amore’, there’s something for everyone. Personal favourites: Buddy Greco’s version of ‘The Lady is a Tramp’ and Rosemary Clooney’s ‘Mambo Italiano’.
-- Annie, Central
Bruce Springsteen
We shall overcome: the Seegar sessions
For all those fans of folk, traditional, spiritual and protest music, this is the set for you. The pack includes a DVD and CD. The variety of musical instruments includes the traditional washboard, banjo, fiddle etc. The song We shall overcome that we all know so well is as moving as it always was.
If you want a journey into the past, and enjoyed Pete Seeger, give this a try.
-- Doreen, Central
NZ Music Month
NZ music month has been going since 2001 and aims to boost the visibility and success of kiwi music. I thought I’d recommend a few Kiwi artists that deserve more airtime at home. Trinity Roots and the Black Seeds produce a fresh and unique sound of fusion, from rock-steady groove and the improvisation of jazz, to the harmony of reggae.
NZ hip hop is a phenomenal genre constantly on the rise. Check out some aspiring hip hop artists like Definate & Bling, with their album 4 corners. An album showcasing local hip hop Breakin wreckwordz gives you nothing but up-beat flavour. Going strong since 1980, Ardijah gives you a Polynesian, kiwi feel to their sound.
Keeping it local, Pre-pill love by our own Simon Comber is one to look out on. Keep an eye on Opshop, Stellar, Elemeno P, and the reunion of Crowded House with another hit album soon to be released! Check out your local gig guide and support our local talented artists. It’s not over yet so go out there and support New Zealand Music Month!
-- Leitu, Central
Van Morrison
Van Morrison at the movies
Hits from Van the Man from movies like Bridget Jones’ Diary, An American werewolf in London and Born on the Fourth of July make this a great option for those, like me, who couldn’t decide which Van Morrison CD to try. This compilation includes a live version of “Comfortably Numb” with Roger Waters, and the iconic “Gloria”.
-- Annie, Central
Nesian Mystik
Freshmen
It is unusual to find hip-hop performers that your mother would be happy for you to bring home. These guys are so charming and positive that you can’t help fall for them. They know how to put on a fantastic live show that I would recommend every body go and see if you get the chance. This disk, on the other hand, is worth owning and deserves more attention than it's had since its release last year but lacks the fun, originality and Nesian flavour that made the boys famous. They are growing up both professionally and personally. They’ve got bills to pay so you can forgive them for trying to create music that fits a formula for success. I give it a 7 and a half out of 10 but that’s only because I’m such a fan. Freshmen is very smooth and shiny and pleasant but I don’t think Coke will be knocking down their door to use the songs in their television adds this time around.
-- Anita, Remuera
Joe Satriani
Surfing with the alien
Joe Satriani’s Surfing with the alien is arguably the finest power rock album of all time. Totally instrumental, it is guitar heaven. It has riffs that would make a vicar air guitar and soaring chords that just scream big hair and fast times. There is not a dud track on the whole album and it’s best listened to with a really big bourbon and coke.
-- Kim, Central
Erase Errata
Nightlife
 Auckland was lucky enough to see this totally amazing band play in November last year. If you missed it, you probably shouldn’t get this album out because you’ll be kicking yourself. This is their best release to date, the sort of record you put on and instantly go WHOA. It’s paranoid herky jerky post punk, with super-tight drumming that makes you want to dance up a storm. Everybody has a GUN! Everybody has a KNIFE!
-- Elisabeth, Central
Tyree
Now or never
Representing the streets of south Auckland, Tyree stamps his mark in the Aotearoa
Urban hip hop scene with his debut album Now or Never. Tyree ventured out to the US and worked alongside Emile who has mixed and collaborated with the likes of Terror Squad, G-Unit and Obie Trice. While over there, Tyree gained invaluable experience, bringing it back to his south Auckland roots.
Tyree puts out 'Ladies and Gentlemen' which audiences will already be familiar with - a collaboration with Kardinal Marshall and Deach, but it's the next track - 'Would You Mind' which gets your attention.
The urban hip hop market may already be heavily saturated but I'm sure it can make room for one more.
-- Leitu, Central
Yo La Tengo
Iam not afraid of you and I will beat your ass
Looking through Yo La Tengo’s diverse and expansive back catalogue clearly reflects a band completely in love with music, in all its styles and forms. Against this backdrop, the focused, smooth sound of their previous album Summer sun seemed unsettling. However, right from the beginning of I am not afraid… Yo La Tengo smash any notion that they have ‘locked in’ on a sound. Opener ‘Pass the Hatchet, I Think I’m Goodkind’, with its thick distortion and insistent drone, sounds almost like a classic Yo La Tengo song of fifteen years. As the album progresses though, that opener becomes something of a red herring. While this album is a return to their nineties sound in terms of scope, they are not simply recycling old ideas. From the Memphis soul of ‘Mr Tough’ and the jaunty melody of ‘The Weakest Part’, this is probably the most melodic and poppy album Yo La Tengo have ever released.
Part of what makes this album work so well is that, despite the mass of different styles and forms every song still sounds like Yo La Tengo. After twenty-two years together, their creative ambition shows no sign of dying down as they continue to prove themselves as one America’s most important rock bands.
-- Chris, Circulation
Beyonce
B'day
I have to channel Tyra Banks and say that this album is fierce. Beyonce is all about the game and she is definitely the player and not the one being played this time around. The cd is full of ‘girl power’ songs that reveal a woman who is well aware of her charms and the power that they give her. There are none of the over sung, soppy ballads the previous disk had, the slow jams here are all about anger and standing up for yourself when your partner acts up. We all know very well that Beyonce can sing, but what this release highlights is that when she does it for the clubs she really shines. I really like the whole thing but if I had to choose a top two it would definitely be Upgrade u and Suga mama.
The vocals are a lot harder and more mature than Dangerously in love, as is the lyrical content. It’s a really different album and because of that devoted fans may not love it to begin with. I recommend giving it a few spins and you will be hooked. I wish it was longer but overall I give it a solid 8. It hasn’t been off my stereo since I got it the day it came out.
--Anita, Remuera
The Like
Are you thinking what I'm thinking?
One might tend to dismiss a band consisting of three very sharply dressed young ladies from LA, all the daughters of record producers and musicians. However, there’s no reason to mutter about nepotism, because the Like rock, resembling a softer Sleater-Kinney (think The hot rock). Stand out tracks are the two singles ‘June gloom’ and ‘What I say and what I mean', and though parts of the album can be a little underwhelming at first, I think it’s a grower and the Like are bound to get even better as they mature as a band. It’s catchy shimmering power pop with a hint of sadness, perfect for the approaching summer nights.
Singer and guitarist Z Berg sounds like Bjork at times, and her confident but breaking up voice suits the feeling of the record, while the rhythm section of Charlotte Froom and Tennessee Thomas (is that not the coolest name?) is tight and infallible throughout the whole thing. If they came from an “indier” background, purists would be falling over each other in love with them, so please put your prejudices aside. I like the Like!
-- Elisabeth
Wolfmother
Wolfmother
Sydney based 70’s sludge revivalists Wolfmother, have enjoyed a speedy ascendance up the fame ladder armed with their debut self titled record and a reputation for blistering live shows.
Much like The Darkness, Wolfmother have divided audiences and critics by wearing their influences brazenly upon their collective sleeves. The track titles alone (‘Tales From The Forest of Gnomes’, ‘White Unicorn’ and even ‘Where Eagles Have Been’) will no doubt see them quickly dismissed by rock snobs, but the truth is that Wolfmother are much more than just a dumb Black Sabbath tribute band. The sound of the album is so well realised, with every pummelling riff and overdriven organ tone sitting so perfectly, that you can’t help but go along for the ride. And a swell ride it is too.
If you want a great, visceral rock album that’s not derived from the (what must almost be dry by now) hallowed well of ‘angular post-punk’, then give Wolfmother a spin. Especially if you live out west and like the idea of gate-crashing neighbours who arm themselves to the teeth with boxes of Tui.
-- Ben
Tom Petty
Highway companion
While his contemporaries have all been caught flogging the old ‘impeach the president’ horse at some stage over the past few years, Mr. Petty has stuck firmly to defending the soil that he first fertilised years ago with albums like Damn the torpedoes’ and the now classic singles ‘Refugee’, ‘The Waiting’ and ‘Mary Jane’s Last Dance’.
Produced by long time collaborator Jeff Lynne, the sound is nice and roomy, warm and inviting. Long time Heartbreaker Mike Campbell (guitar) is up there in the mix with lots of tasty slide guitar and TP himself gets behind the drum kit for the whole record – his feel is nice and greasy and old-skool. Much like Levon Helm from The Band. On the face of it, and the records title would also intimate this, the album is driving music; a collection of on the road laments and gravel kicking rockers. But on closer inspection, it is simply a record about America and the ghosts that inhabit it - ghosts struggling to reconcile the past with the present. Mr. Petty succeeds in making this struggle sound inviting.
-- Ben
Rufus Wainwright
Want one
Ah Rufus. Cut from such a different cloth than most other contemporary songwriters. This guy is seemingly more hip to the tin pan alley vibe than any musical trend of the last two decades- and for that we should be on our knees giving Rufus all the thanks we can muster. First song just chucks Ravel’s most famous melody ever right in there, and so far it still hasn’t annoyed me. It’s funny too. “Oh what a world it seems we live in, straight men” he sings, as if the existence of a single straight man in the Good Lord’s world just totally bemuses our hero. The hymnal b.v,s, the arrangement swelling from a solo trombone to a fully blown orchestra , the entrance of each new instrument perfectly timed. Instruments are introduced one at a time, songs slowly building towards their choruses, but the orchestration of this album is not as dense as all the press I’ve read would suggest. Some of it’s actually pretty sparse. Some critics seem to have resented the sheer train wreck of ideas going on here, but for me Rufus’ unabashed romanticism ties it all together. Dude comes off like a gay starry-eyed Randy Newman for the most part. Sure it’s not as sonically cohesive as Poses, but it’s bursting at the seams with interstellar melody. The library has one, and now I want one.
-- Simon
The Mountain Goats
The sunset tree
The first thing that struck me about The sunset tree was the immediacy of songwriter John Darnielle’s lyrics. The slow revealing metaphors that pervaded We shall all be healed had been replaced, for the most part, by comparatively straightforward couplets. The sunset tree is a reflection on teenage alienation inspired by Darnielle’s troubled relationship with his stepfather. The father-son relationship is a little more black and white at that age (from what I remember) and so are many of these songs. This album has its fair share of esoteric Mountain Goats imagery, but it’s the upbeat odes to teen endurance such as 'Dance music' and 'This year' that make the more impact. In Pale Green Things Darnielle finally lets the protagonist see things through a retrospective lens. This older and more philosophical narrator’s reminiscences upon learning of his father’s death result in one of the more astounding lines on the album: “I turned it over in my mind, like a living Chinese finger trap.” The sunset tree isn’t going to reward repeated listens in the same way that We shall all be healed did, but this is a small price to pay for the most emotionally accessible Mountain Goats songs since signing with 4AD.
-- Simon
The Minutemen
Introducing the Minutemen
If you’ve never heard the Minutemen, one of the best bands to come out of the American punk/hardcore scene in the 80s, this is a great place to start. Introducing the Minutemen covers all their vinyl releases and contains a whopping 35 songs, the longest one being 3.35 with the rest averaging around 1 minute – after all, they are the Minutemen. The best thing about the Minutemen is that while they’re largely a hardcore band, they experimented with many different kinds of music, including free jazz and folk, are politically aware in their lyrics, while always remaining extremely tight and rockin’. Mike Watt is an incredible bass player – you might have seen him playing with Iggy Pop at the Big Day Out earlier this year, oh, and the MM are also responsible for the Jackass theme (the full version is on this CD) – and the Minutemen remain influential in today’s alternative music scene.
-- Elisabeth
Saint Etienne
Tales from turnpike house
Saint Etienne are a rare pop gem who deserve a lot more attention than they get. While their last album was a return to their earlier Smash Hits-esque pop sound, Tales From Turnpike House has a more laid back, adult feel to it, especially in the first track “Sun in My Morning” which recollects blissful Sunday breakfasts, and “Side Streets”, a soothing tune about the pleasures of evening walks home. Extremely dreamy and well produced, with pretty strings, pipes, soft house beats and disco sounds, this album sounds amazing on first listen, and I can only imagine it’ll get better and better.
-- Elisabeth
Sleater-Kinney
The woods
Sleater-Kinney’s 7th album, their “psychedelic love child”, is undoubtedly their most musically experimental to date, but also rocks easily as hard as previous offerings, with lots of seventies Led Zeppelin inspired riffs and solos. Consisting of three women from Portland, Oregon, Sleater-Kinney have a fiery, uncompromising spirit and put on an amazing live show – as anyone at the last two Auckland shows could tell you. The woods is also their darkest release to date, seen in ‘Jumpers’ and ‘Modern Girl’, although ‘Let’s Call it Love’ isn’t too gloomy and ‘Night Light’ offers hope for the future. If you’re interested in authentic, passionate, intelligent rock and haven’t heard Sleater-Kinney, you’ll need to check this out.
-- Elisabeth | 
