OLD SALTS 'ITCHY FEET'

Old Salts are releasing their new angst filled rock anthem ‘Itchy Feet’. 

The opening lyrics “Completely sick of this bullshit, has the world gone mad!” set the tone in this Anti-Protest Protest song. Born out of frustration with stopping and starting, ‘Old Salts’ have been frothing ready to go and like many bands they have had to keep canceling live events before they can be announced. A sense of urgency entwined into the music pays homage to the Foo Fighters with a punk rock vocal vibe resembling elements of Shihad and The Living End.

A punchy follow up to their debut single 'Take a Breather' 

“Citing influences such as Primus and Them Crooked Vultures, you can definitely hear this in the way the song, not only sounds but how it is written and arranged. It is raw. It is real.” - Ben Ruegg @Muzicnet 

The song is the second of four songs to be released off their forthcoming EP ‘Stories told by the Sea’ due out 2022. Each song with a different vibe yet still falling within the parameters of alt rock, from serious to satire, moody rock ballads to angsty rock anthems. It's a four flavour taster pack which packs a punch. 

Engineered and Produced by Graham Gilleberg at the beautiful Mount Tiger Studios in Whangarei.

“They are actually pretty good!”   - Olly Buckle

Alt rockers Old Salts hail from the shores of Bream Bay, Northland. 

An "old salt" is defined as an old sailor or mariner who tells oral history and sea stories. While these boys don’t claim to be old salty sea dogs they all love spinning a yarn and share a connection with the ocean whether it's surfing, fishing or diving. They are brought together with a passion for playing music and want to create something a bit different.

Old Salts are made up of members John Buckle (Lead Vocals / Guitar) Scott Brown ( Lead Guitar / BV) Marcus Jones (Bass / BV) Lucas Hargreaves (Drums / BV) 

INSTAGRAM I FACEBOOK I LINKTREE I YOUTUBE I SPOTIFY I APPLE MUSIC

Louis Baker releases Double Remix

Nine months after releasing his second EP, Love Levitates, the soulful Wellington, New Zealand-based singer-songwriter Louis Baker unveils two new electronic remixes of the title track from Love Levitates and his pre-album single ‘Overdrive’ (featuring Kings). 

For the remix of ‘Love Levitates’, Louis called on his longtime musical collaborator Cory Champion, best known for his dub techno, ambient and deep house productions as Borrowed CS, and his cosmic jazz band project, Clear Path Ensemble. Reimagining the song’s jazzy soul vibe in a sleek club-tempo style, Borrowed CS surrounds Louis's smooth vocals with the glossy shades of 2-step garage and UK funky. In the process, he puts an Antipodean twist on the rich traditions of syncopated UK dance music.

Alongside this, the ‘Overdrive’ (featuring Kings) remix sees the Auckland keyboardist, beatmaker and producer BHaru (of the Ladi6 band) giving the uptempo boogie bounce of the original song a nocturnal, stripped-down refresh. Setting Louis and Kings vocal performances against screwed-down, syrupy synths and a 4/4 bass bounce, BHaru lets the beat build. After the first chorus, he twists the song into the sort of dynamic synth-funk shapes that brought him to the fold of US super-producer Timbaland’s Beat Club last year.   

“I love the flavours that both these guys have. When I thought about getting these tracks remixed it was a no brainer for me.   What they both delivered was the artistry and flavour that only Bharu and Borrowed CS could make.  I love the sonic colour palettes they find when making music, which are always distinctive and sick to listen to” says Louis on the remixes.

Both remixes will be available via all digital platforms this Friday 25th March, 2022.

LOUIS BAKER ONLINE

Website | Facebook | Instagram | YouTube

ON LOVE LEVITATES

Love Levitates, released on 18 June 2021 marked the first full-length follow up to Baker’s critically acclaimed debut album Open released in 2019 — which received a prestigious Taite Music Prize nomination, and Aotearoa Music Awards nominations for Best Soul Artist and Best Māori Artist. Previous singles ‘Back On My Feet’ (2014), ‘Rainbow’ (2016), and ‘Black Crow’ (2018) have been recognised with APRA Silver Scroll nominations. 

The EP's first released single ‘Overdrive’, featuring NZ rapper/producer Kings, shot to No. 1 on release and has clocked over 1.3 million Spotify streams. Youth influencer site Sniffers praised the single writing: "lush vocals from Baker over grooving soul production conjure the blissed-out ecstasy of the initial rush of an enchanting encounter."

On the uplifting and deeply personal opening track, 'Brighter Day', Baker pays tribute to the triumphs and adversities faced by his grandfather Lieutenant Colonel Frederick Baker (Ngā Puhi, Ngāti Tu) who served in the 28th Māori Battalion. The single charted at No. 11 and earned Director Anahera Parata a nomination for Best Video at the 2021 Aotearoa Music Awards.

International support for Love Levitates

"Infectious neo-soul” — Rolling Stone AU

"Louis Baker establishes himself as both a rarity and necessity” — Happy Mag

“Solid soul goodness” — KCRW

WINNERS ANNOUNCED FOR THE 2021 APRA SILVER SCROLL AWARDS | KAITITO KAIAKA

We celebrate some of our incredible songwriters and composers tonight by announcing the winners for the 2021 APRA Silver Scroll Awards.

APRA Silver Scroll Award | Kaitito Kaiaka:
Troy Kingi for All Your Ships Have Sailed
(Published by Loop Publishing | Kobalt Publishing)

APRA Maioha Award | Tohu Maioha:
Maisey Rika and Seth Haapu for Waitī Waitā

SOUNZ Contemporary Award | Te Tohu Auaha:
David Donaldson, Janet Roddick, Steve Roche (Plan 9) for The Bewilderness
(Published by Native Tongue Music Publishing)

APRA Best Original Music in a Film Award | Tohu Pūmanawa:
Arli Liberman for Savage

APRA Best Original Music in a Series Award | Tohu Paerangi:
Karl Steven for Black Hands

Troy Kingi (Te Arawa, Ngāpuhi, Te Whānau-ā-Apanui) has won the 2021 APRA Silver Scroll Award | Kaitito Kaiaka for his funk-laden song ‘All Your Ships Have Sailed’ (published by Loop Publishing | Kobalt Publishing) taken from his nostalgia-filled record The Ghost of Freddie Cesar - the fourth album from Troy Kingi’s 10 10 10  series (10 albums in 10 years in 10 genres).

The Ghost of Freddie Cesar is a deeply-personal record inspired by memories of Troy’s biological father who disappeared in 2005. While going through his father’s belongings Troy found a mysterious cassette tape with the name “Freddie Cesar” scribbled on the front – an exceptional yet relatively unknown African-American funk musician. Pulling from retro 70’s sounds, Troy Kingi and his band The Clutch bring to life a character inspired by his missing father and the music discovered on this mysterious tape. 

“Freddie Cesar gave me the memory blueprints or the spiritual blueprints for these waiata. And this particular one, I don’t 100% know what it’s about, but I feel like it’s about seeing your dreams pass you by, and not being able to retrieve them, but remembering you still have love for your whānau and love for your children and that’s enough purpose.” 

“I’m humbled and honoured to receive this award. Thank you to APRA and the wider community for allowing it so, for deciding I was worthy of this award. Much gratitude.” 

It is the third time Troy has been a top five finalist for the Silver Scroll Award | Kaitito Kaiaka, and the win (which is decided by votes from APRA members) is a wonderful acknowledgment from his songwriting peers on the impact of his work. It recognises his outstanding work, and will see his name engraved alongside other Aotearoa musical luminaries like Aldous Harding, Marlon Williams, Bic Runga, Ruban and Kody Nielson, Scribe and P Money, Chris Knox, Dave Dobbyn, and Shona Laing.

Maisey Rika (Te Whānau-a-Apanui) and Seth Haapu (Ngāti Porou, Ngāti Tūwharetoa, Te Atihaunui a Pāpārangi) were awarded the Maioha Award for their incredible waiata ‘Waitī Waitā’ from Rika’s Matariki inspired album Ngā Mata o te Ariki Tāwhirimatea. ‘Waitī Waitā’ was co-written and produced by multi-disciplinary creator Seth Haapu. The waiata spotlights Waitī and Waitā, two stars that form part of the Matariki cluster, expressing their connection with each other and tangata whenua. 

The 2021 SOUNZ Contemporary Award | Te Tohu Auaha was presented to David Donaldson, Janet Roddick, and Steve Roche who form music collective Plan 9, for their composition The Bewilderness. The Wellington-based trio released their album The Bewilderness in June 2021 in response to the strangeness of 2020, the sudden lockdown, and the moments of calm amidst the ongoing disarray. The Bewilderness is a fascinating 10-track journey featuring vocals and percussion by Johnny Marks, cello and taonga pūoro by Ruby Solly, and Tristan Carter on violin alongside the Plan 9 trio. 

Arli Liberman was awarded the APRA Best Original Music in a Film | Tohu Pūmanawa for his composition work on Savage, a confronting film inspired by true stories of New Zealand’s street gangs across 30 years. The emotive soundtrack combines traditional production sounds with experimental music, perfectly capturing the tension and beauty shown throughout Sam Kelly’s film. From being a key member of Whiteflag Project in Israel – one of the first Palestinian and Israeli crossover bands – to becoming one of New Zealand’s most distinctive screen composers, Arli remains an important figure in the industry. 

Award winning New Zealand/Swedish composer Karl Steven has been awarded APRA Best Original Music in a Series | Tohu Paerangi for his work on Black Hands, a five-part fictionalised story about the Bain family. Karl Steven captures the nail-biting scenes with unsettling string and vocal arrangements for optimal edge-of-your-seat viewing. Having worked in film composition, radio, studio production and fronting various bands including Supergroove Karl Steven is not only a well-respected film composer but also a much admired figure in the wider music industry. 

Amidst the ongoing challenges and setbacks of COVID-19, APRA was forced to postpone the 2021 awards 3 times, before moving the ceremony to an online format. 

It did however mean one very special performance of All Your Ships Have Sailed could be filmed and recorded in a studio environment, and allow the inimitable Deva Mahal and an incredible band of nine wahine toa to create a truly powerful and memorable version of the song, celebrating its strength and wairua. This was created with the support of Silver Scroll Awards Music Directors Rob and Cilla Ruha who will also remain on board as Music Directors for the 2022 awards.

You can check out the full awards presentation, as well as the performance, and videos from each of the finalists speaking about the inspiration behind their work on our YouTube and Facebook channels. 

The awards are proudly supported by NZ On Air and Te Māngai Pāho.

JAZ PATERSON - THE ACHE TOUR 2022

Rising alt-indie-pop artist Jaz Paterson is thrilled to finally announce that she is hitting the road to reconnect with her fans, and showcase the tracks off her debut EP ACHE.

“Blending shimmering synths, modern percussion and warm live instrumentation, the soundscape across ‘Ache’ is bold and dazzling…an exemplary debut release from Jaz Paterson.” – SNIFFERS

“I’m so excited to bring my first tour to Auckland, Wellington, Christchurch, Geraldine and Dunedin. I loved being able to share this show at my EP release and Rolling Meadows Festival, and want to get back out there. I can’t wait to perform again.”

With the country still in the red light setting, Jaz has decided to go ahead with the THE ACHE TOUR 2022, and is more than happy to adhere to the limitations, saying “We have adjusted the ticket availability to comply with restrictions, so that the shows can go ahead safely. We’ve also tailored the set to still be energetic and full of movement, while also creating some more intimate acoustic moments to fit the venues in reduced capacity modes.”

The Ōtautahi-based talent is making waves and gathering momentum with every release of her unapologetically emotive songs. Acclaimed for her raw and honest confessional style of music, ACHE delivered three compelling tracks: intimate first single ‘LONELY’, followed up by escapist ballad ‘LA’, and tender splitting-up song ‘ACHE’.

“The ACHE show will include songs from the EP, which share the highs and lows of my early 20’s, and I’ll be sharing the stories behind the songs, as well as performing some new music. I’m also stoked to be working with some fantastic local musicians at each venue, to open the shows. See you there X”.

Already blazing her own path within the New Zealand music industry, keep your finger on the pulse and watch as Jaz’s career continues to heat up. The future looks bright for this young, gifted talent.

JAZ PATERSON – THE ACHE TOUR 2022 

Thursday 31 March        Valhalla, Wellington

Friday 1 April                 Ponsonby Social Club, Auckland

Thursday 7 April       Darkroom, Christchurch

Friday 8 April                      Lodge Theatre, Geraldine

Saturday 9 April             Bark!, Dunedin

TICKETS AVAILABLE FROM EVENTBRITE.CO.NZ

LISTEN TO HER DEBUT EP ACHE HERE  | WATCH THE VIDEO FOR ‘ACHE’ HERE

CONNECT WITH JAZ PATERSON:  INSTAGRAM | FACEBOOK | YOUTUBE | SPOTIFY

INDIE/GROOVE KIWI BAND MASAYA Release new single Attention

Kiwi band Masaya have today announced their brand-new single Attention, set to excite fans and send out the Aotearoa summer in style. The catchy track is co-written by lead vocalist Reiki Ruawai and former bandmate and talented musician Muroki.

Written at the band’s home in Raglan, the uplifting song tells the story of trying to grab someone’s attention in a crowd. The music video for Attention, directed by Ashley Pitman and filmed at Ponsonby’s Studio 230, will drop on Friday 25th March.

Originally formed for a university project, Masaya has blossomed into an indie-groove five-piece with a sound reflective of their Raglan upbringing. Now based in Auckland, the band came out with their first EP Tongue & Groove in 2019, and have since treated crowds at a number of festival appearances around Aotearoa, including Soundsplash, Rhythm & Vines and Bay Dreams.

“Attention is all about living in the moment, going with the vibes and connecting on the dancefloor. It was so much fun to make and we can’t wait to share it with our fans,” says frontman Reiki Ruawai.

With Reiki on lead vocals, the band is rounded out with sister Kaea Ruawai on drums, Jules Blewman on lead guitar, Joe Kaptein on keys, and Nat Hathaway on bass. In 2020 they were nominated for a Waiata Māori Award in the Best RnB Album by a Māori Artist for Tongue & Groove, which has now amassed over 1 million Spotify streams.

Musician Muroki lends his songwriting talent to Attention, as a former bandmate and friend. Now signed to Benee’s record label Olive, he’s performed on stages across the country including opening for the multi-platinum pop star on her nationwide tour. 

Masaya are currently working on their debut album, due for release in June 2022.

The Show Must Go On

The Show Must Go On

Music Photos by Murray Cammick

April 9 - May 28, 2022 

photospacegallery.nz

1st floor, 37 Courtenay Place, Te Aro, Wellington

10am-3pm Mon-Fri, 11am-2pm Sat

After the success of the 2020 Flash Cars show, Murray Cammick returns to Photospace.nz Gallery in Wellington with a selection of his classic music images. This music show is based on the earlier 2017 punk & new wave focussed exhibition that was shown in Sydney and Auckland. Additions to this show include photographs of Bob Dylan, Roxy Music, Kate Bush, Tina Turner and previously unseen Bob Marley images.

The Show Must Go On is a phrase we associate with the history of music, theatre and the arts. It is an ironic title in that music venues have been among the activities hardest hit by Covid-19 due to their being inoperable due to the nature of the pandemic.

The photographer is using this title to encourage people to once again visit and patronise the small art galleries of inner-city Wellington and inner-city Auckland. Many of those galleries have survived the pandemic and now need to regain their audience.

“I’m saying the art show must go on,” says Cammick, “and inner-city culture must thrive.  We can start by planning an inner-city exercise route that takes us to the galleries of Cuba St and Courtenay Place in Wellington or Karangahape Rd and Lorne St in Auckland. Viewing art is compatible with mask-life and Covid-19 passports. Safety must be our first concern but we all need to put on our Autumn bucket lists: spend some money at an inner-city business,” suggests Cammick. “We have to avoid the cultural hearts of our cities becoming ghost towns.”

The exhibition of music images largely consists of high-quality black and white images printed using the traditional silver gelatin process by top New Zealand printer Jenny Tomlin.

The Wellington show has also added a few colour photographs of local legends from the 1980s and 1990s including Herbs and Shihad. These colour images utilise digital printing.

When RipItUp magazine started in June 1977, co-publisher Cammick and original editor Alastair Dougal were not aware of how radical the changes in music culture would be as the decade ended. Foreign punk / new wave acts like The Ramones, Iggy Pop and Blondie visited and locals like Suburban Reptiles, The Scavengers and Toy Love put some energy into the scene. These local musicians appeared on the classic New Zealand punk compilation AK•79.

New Zealand musicians were inspired by the success of Split Enz overseas and original writers like Hello Sailor, Th’ Dudes and Sharon O’Neill found respect for their own songs. In a time of cultural change, RipItUp and Cammick’s camera documented important cultural events such as Bob Marley’s 1979 visit to New Zealand and suburban cultural events like young band Screaming Meemees playing in a packed North Shore suburban hall.

For those who liked their music raw, seedy local venues were the place to worship and the Zwines and Mainstreet mosh-pits were where alienated youth gathered to enjoy the company of kindred-souls. Cammick captures the tribal, sweaty audience as well as the musicians.

Prior to starting RipItUp in 1977, Cammick was the designer of Craccum, Auckland student newspaper in 1976. He studied photography at Elam School of Fine Arts 1973 to 1975 with lecturers John B. Turner and Tom Hutchins who encouraged him to take socio-political photos for the student newspaper. Cammick took the first photos of the Flash Cars series at Elam and learnt a respect for the documentary tradition in photography.

Reflecting on his music photos for the Capture blog, Cammick wrote: “I tried to document the music and the scene as a ‘fly-on-the-wall’ documentary photographer. You either contribute to the myths / bullshit of rock n roll or you try and show some of the reality of the grind of promotion and touring. I recall being at Craccum in 1976 and being delighted that our music editor John Robson came back from a press conference with a photo of Frank Zappa drinking a cup of tea. How sublimely un-rock n roll!

“Shooting un-rock n roll photos became something to aspire to, so I was pleased to get Iggy Pop in his clunky reading glasses laughing at the Talking Heads story in RipItUp magazine. As we arrived at Iggy's White Heron Hotel room he was still in his pyjamas and I sneaked a shot but he heard the camera and made it clear, “No photos in my pyjamas.”

“For years I've regretted that I did not capture the glamour of Debbie Harry in my 1977 photos, but now I am starting to appreciate that they show a tired young woman who briefly leaves an international flight in Auckland to do a day’s promo. She is giving copies of the New York “Punk” magazine to the RipItUp writer Jeremy Templer.” Arrive from the USA at dawn – a day of interviews in Auckland, then on a plane to Melbourne for a TV interview that night. That’s life.

Cammick’s black & white music photography was featured in Art New Zealand Autumn 2015 issue.

“In the early days I chose to define myself as a photographer – an identity for myself – my Minolta SLR camera was almost permanently around my neck,” says Cammick. “I guess that gave me the purpose and status that young people seek in life. I was part of the ‘taking photographs’ gang. In the early days it was easier to be a ‘fly on the wall’ when photographing musicians who were near to my age. As I grew older and got busy as RipItUp editor, it is was enjoyable to give the opportunities to take photos to younger photographers.”

The photographer’s notes on photos;

Bob Marley

Anyone who asks me to play soccer has smoked too much dope. Marley asked me that question – after I had retrieved a stray ball, by the park outside his hotel, the White Heron. I interpreted his question, as an indication that he would prefer that I stopped taking photos. As a young photographer

Our RipItUp writer had gone home and there no longer much point in me staying. Crafty Liverpudlian, TVNZ reporter Dylan Taite had brought his soccer boots to the non-existent press event that day, so he could cunningly play soccer to achieve an exclusive interview. He achieved his goal – i.e., the interview of a lifetime. Marley obliged and even spoke rather clear English in the interview, rather than patois that he might use if he was in a less communicative mood. Dylan’s interview, with Auckland harbour in the background, features in most Bob Marley documentaries.

I was not too keen on doing ‘music industry’ style photos of a Platinum album presentation or the traditional Māori welcome, the powhiri - but “Yes” was the answer when the visitor to New Zealand was Bob Marley.

Chris Knox

When RipItUp decided to put five new bands on the cover of the April 1979 issue, the ‘group’ interview soon came upon insurmountable ethical and regional issues.

Louise Chunn wrote, “To Chris Knox, expatriate Dunedin boy and don’t ever forget it, Aucklanders don’t dance, they pose rather fast. And any way Toy Love don’t want to have people showing enthusiasm or approval through dancing. ‘We’d rather stun them,’ said Knox.”

Iggy Pop

We arrived at the White Heron hotel, to find Iggy in his room, still wearing his pyjamas, playing guitar. I took a subtle snap on my camera but Iggy heard the click and turned to me, “No photos in my pyjamas!”

During the interview Iggy said: “You have to remember, I was in — will the real Sex Pistols please stand up? — I was in the Stooges.” 

It was curious to watch Iggy reach for his clunky reading glasses to peruse a Talking Heads story in the current RipItUp. I recall Iggy saying, “Here I am traveling the world, alone in my hotel room, except for my pyjamas.” Due to the writer’s discretion this comment – whether taking the piss or not – did not run in RipItUp.

Dolly Parton

Hippies, freaks, punks and members of Split Enz, I could cope with, but meeting Dolly Parton was a culture shock. The singer visited New Zealand in 1979 and ended up in the RipItUp centrespread sandwiched between Iggy Pop and Toy Love. I understood the country outlaws Cash, Jennings and Willie Nelson but most country music made my stomach uneasy. Dolly knew how to work a room. Making eye contact with every writer and every photographer. Dolly was in control of the room and soon showed her down-home smarts and taught us the basics in controlling your own career. “I moved to Nashville, still with the big hair-do, long since out-of-style. People started telling me I should change my look. And I thought — well, for somebody to tell me that ­– only means they’re noticing the way I look. So, I decided to change it alright, by exaggerating it.”

Girls and beer cans

The early 1978, Hello Sailor gig at Auckland University Recreation Centre was excellent – that translates, I thought I had taken some great pix. After the gig I got a cool backstage photo of singer Graham Brazier. I think I was too shy to ask the singer if I could take a photo, and he asked me if I wanted to take a photo. As I walked towards the exit, the beer cans caught my eye. Before I pressed the shutter two young women walked into the frame and gave me the photo. The photographer is only one participant in the making of a photo.

Kim Fowley

When LA legend Kim Fowley visited Auckland in January 1979, I was in awe of his intelligence, his humour and his namedropping. He was in awe of the fact that I was in awe of him. He’d book toll calls to rock royalty like Bruce Springsteen to impress us locals. One call was timed to take place when I visited the studio. Fowley liked music journalists dropping by – he liked to hold court. Even in the photo – Kim spun me – so he ended up looking like the President of the USA. I ended up with a ‘portrait’ of Kim Fowley. I was not a portrait photographer, I was a documentary photographer, but Fowley only did portraits! Great to see this image in the recent Joan Jett documentary, nobody asked me, but it was cool that they liked my photo.

Graham Brazier

I have more good photos of Graham Brazier than every other local musician in total. To be blunt, Graham was into having his photo taken and I think he liked to help me get a good shot. The musician who performs off stage as well as on stage, to some, is a ‘rock star poseur’ but photographers appreciate a little bit of help. Graham was a poet and a book collector – he had empathy for poets and writers, and he was not above helping me to get a good photo. On occasions when I had camera in hand, I’d get a nod from him that said: “this will make a great photo.” This is what happened backstage at Mainstreet.

Screaming Meemees

In 1981, Screaming Meemees played the Northcote Netball Hall and proved that there was life on the North Shore – beyond the toll gates. One of my favourite gigs ever! In the sandpit and the mosh-pit, you learn to enjoy life and negotiate with other people. I respect bands that make you want to jump up and down and celebrate being alive.

Siouxsie Sioux

By the time Siouxsie and The Banshees made it to Auckland in 1983, punk had become post-punk and Siouxsie was post-punk too. She was polite and pretty and seemed to enjoy being surrounded by adoring music fans masquerading as journalists. Robert Smith was there too, having a cup of tea, making this suburban hotel press conference, a very cool occasion.

The Ramones

I am not sure why I have a photo of Johnny Ramone as our interview was primarily with Joey Ramone. As Johnny was later revealed to be a redneck Republican, I am quite pleased that in my photo, he is upstaged by wall phone.

April 9 – May 28, 2022 

photospacegallery.nz 

1st floor, 37 Courtenay Place, Te Aro, Wellington

10am-3pm Mon-Fri, 11am-2pm Sat

PRINS 'That's the thing x'

After cultivating her unique brand of electro-pop throughout 2021, Kiwi artist PRINS returns in 2022 with 'That's the thing x', a new single that showcases the pop phenom's growth as a songwriter through a contemplative exploration of relationships and all their complexities.

Last year, Alannah Prins carved out her corner in Aotearoa's flourishing music scene, cementing her status as Christchurch's resident pop princess with a string of catchy club anthems and her trademark dance-floor-ready tracks.

And PRINS continues to move from strength-to-strength with 'That's the thing x', a moody and melancholic reflection on relationships that sees the pop powerhouse expand on her tried-and-trusted formula, offering a maturer sound that departs from her repertoire of up-tempo dance bangers.

Taking the tempo down a notch, 'That's the thing x' switches up PRINS' signature style in favor of a slower-paced, introspective offering that explores the themes of trust, vulnerability and self-sabotage. Set to a heady, downtempo beat, theatrical piano chords and choral harmonies, PRINS showcases her soulful side with deeper, throatier vocals as she navigates the rocky terrain of love's trials and tribulations - but of course, all still wrapped in radio-ready pop.

"Crossed the line too many times, what does it mean? Built up walls so high, can't see them coming down," PRINS muses.

"You pick your words, the ones I like, I overdose. Let us bend until we break, if that's okay. It's all I know, so please don't take that from me.

"I don't need another replacement, I like the unknown. Told you I would hold you close, enough to protect it, but I keep letting go. Come and tell me how you're so sure, that you're all I need and more."

Written by PRINS and Marlon Gerbes - the keyboardist of the iconic Kiwi pop rock septet Six60 - 'That's the thing x' was produced by House of Wolf and mixed by award-winning engineer Pierre-Olivier Couturier, both of whom have worked with American alt-pop songstress Carlie Hanson. Grammy Award-winning engineer Chris Gehringer also graced the track with his mastering expertise, having worked with the likes of international hitmakers Dua Lipa, Lady Gaga and Lil Nas X.

After building a strong foundation for a future in New Zealand's diverse and ever-growing music landscape in 2021, PRINS is undoubtedly one to watch for the year ahead.

Khada b 'Down & Out'

Hi there I'm Khada b. A new artist around and a huge nerd that makes music inspired by the video games I played in my childhood. They were my only escape from the tragedy that was my family. Now however, I'm starting to embrace myself and want to show the world that Video Game inspired music can be cool and mainstream too!

down and out is my debut single about an energetic night in the car and at the bar. Inspired by the wild nights drifting and racing with the boys and remembering the first time I learned about drifting in Mario Kart. I suppose we don't grow up, the toys change. Listening to hip hop and trap while chilling and drinking in the back. But it was all a way to cope with the nightmare I was going through with my mental health. Keeping a happy face even though on the inside I was feeling down, I was still going out.

Moral of the story however, is that when you're feeling like you're in first place while on a bender, the demons catch up and a shrink will be the first responder!