A revolving cast of contributors showcase some of the best new music releases from the past week.
David Dallas – ‘Don’t Rate That’
After two long years, David Dallas is back. And if this is any indication of what a new album might sound like, that two years has stoked one hell of a fire shut up in his bones. The opening bars of ‘Don’t Rate That’, a beat produced by long time D-dot collaborators Fire and Ice, let you know exactly what you’re in for by matching the lyrical tone to come: it’s dark, aggressive, and utterly on point.
Dave’s been noticeably quiet since 2013’s Falling Into Place. In the interim, he’s made a few festival appearances, gotten married, and struggled (by his own account) to get his new material out. There’s a palpable frustration that comes through on ‘Don’t Rate That’, and whether that’s the result of writer’s block or just being a human alive and aware in the world, it’s invigorating to hear him take systematic aim at everything from payday loan companies in South Auckland to the racist and xenophobic framing of the Auckland housing crisis.
The fire isn’t new, and the subject of inequality isn’t exactly foreign to Dave’s work; it’s just that the intensity in his verses have historically been rooted in his relentless drive to make a living as a hip-hop artist on his own terms. The last beat he released with this much gravitas was ‘Runnin’, a track epitomised by lines like “I’m out here, I’m hungry [...] / ain’t had this much drive since my Honda Civic got rusty and my girl said she loved me”. On ‘Don’t Rate That’, the focus of his aggression has shifted to structural constraints of a different ilk: “Wish that I could aim at these finance companies in the hood / posing like they doing something good, f*ck outta here / always putting more brown people on the ads, knowing damn well they tryna trick us outta cash”.
Talking last week about why he’d been quiet for so long, he said “I don’t really think I had anything to say. And what good is a song with nothing to say?” It certainly doesn’t look like David Dallas needs to worry about that now. – Sarin Moddle
Missy Elliott feat. Pharrell – ‘WTF (Where They From)’
Missy Elliot returns with her first single in three years and first sniff of an album in 10. Produced by Pharrell, it boasts an awareness of pop-culture and wit that responds accordingly.
‘WTF’’s person of interest is Miley Cyrus in all but name. The track makes frequent note of the notorious hanging tongue and of mishandled dance moves. Much has been said about Cyrus’ appropriation of twerking, including a poignant assessment by Nicki Minaj, but Missy Elliot’s is fun, reflecting Pharrell’s quirky and high-paced musical accompaniment. Missy Elliot’s take on the debacle is characterised by a warm sense of humour, notable in her shrugging-off to Cyrus: “that’s how they do it where we from”. ‘WTF’ is strung together by great lines like this. The best a gloating comparison to McDonalds – “I’m a Big Mac, make you wanna eat that.”
Missy shows a return to the joy that boasts bring to hip-hop. 10 years is a long time but a performance like this makes it hard to remember a time when she was ever gone. – Alex Lyall
Pusha T - ‘Untouchable’
Pusha T is nothing if not consistent. His raps are both menacing and methodical, smooth and restrained, leaving as much emphasis on his icy delivery as on the lyrics themselves. Which is to say that nothing about his new single is uncharacteristic of what we’ve come to expect from him.
‘Untouchable’ sees everything stripped back to its core, leaving behind only what’s necessary. The beat is stark and economical - which, given that it’s Timbaland behind the boards, comes as somewhat of a surprise - while the track itself is almost intro-like, with Pusha’s two verses stitched together with a straightforward Biggie sample that takes the place of the chorus.
There are a few talking points here, especially with the jabs at Lil’ Wayne and Birdman, but really it’s just a chance for Pusha to flex a little. At one point he uses a CrossFit metaphor to describe storing cocaine in his ceiling, which is just the best. He’s had a good week too - from being announced as the President of G.O.O.D. Music to revealing details of his forthcoming album King Push. It’s also probably a good time to remind you that he’ll be on our shores this January. Plan accordingly. - Hussein Moses
She-Devils – ‘Come’
‘Come’, the new single from Montreal duo She-Devils sounds like a cross between a Nancy and Lee cut and Nelson Riddle’s ‘Lolita Ya Ya’. It’s a disconcerting track that casts a very fine line between sexy and dangerous. After repeated listening, you can imagine clouds of purple smoke being blown into your face in a room with shag carpet that gets deeper as you progress further.
There’s a feeling of insanity within the song where you know that what the singer is asking you to do is wrong, but you give into the narrative anyway. It’s cinematic and full of motion, and it becomes hard not to imagine the track scoring a film or a dream. Although, the dream would probably be a nightmare and the film one that you would try to forget after you saw it.
What’s more exciting is that the rest of the EP it comes from is just as evocative and full of wonder. They’re a band you’ll want to hear more of. – Luke Jacobs
Fat White Family – ‘Whitest Boy On The Beach’
Fat White Family’s latest offering ‘Whitest Boy On The Beach’ is a racy blend of hard rock ‘n’ roll and psychedelic funk intended to get the shyest of feet moving. Set to the repetitive, ethereal vocals of frontman Lias Saudi, the song suggests a step in the direction of a livelier, more up-tempo sound for the band.
‘Whitest Boy On The Beach’ is the first release from their second album Songs For Our Mothers, an album they describe as “an invitation, sent by misery, to dance to the beat of human hatred”. It’s a shift from the “spasmodic outpouring of disdain,” which stoked their first album Champagne Holocaust and featured a slower, more punk-focused sound. The “beat of human hatred,” it seems, is a fast-paced, tribal-like rhythm, sure to force any gig-goer into a sweaty, beer-induced frenzy of a dance. “Sex, drugs, politics, death, the Northern Irish A-lister Sam Neil, it's all here, all that's left to do now is breath it in.” Songs For Our Mothers is set for release this January. – Oscar Mein
ri’viero – hot right now
To be completely honest, I had never heard of New Zealand artist ri’viero before, and judging by the seemingly non-existence of any social media account, I don’t believe there’s much information out in the world about them.
What I can tell you was that within seconds into their new EP, I was hooked. The song structures seem to move in random impulsive directions at seemingly any time. They jive, but still manage to maintain a strong sense of mindfulness with regards to the overall changes. So what may seem random on first listen tends to fall into a more suited and thought-out place with every listen. It’s admirable.
The songs work great both structurally and compositionally. They mix so many different styles of music, incorporating funk tunes but spicing them up with glitchy electronic drum beats. It’s a very satisfying listen. - Fraser Hunter
What's your song of the week? Tell us about it in the comments section.
