New Music 30/01

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Double Parked — Lighthouse

Fresh off a huge set at Rhythm & Vines and the release of singles Necklace and Buttercup, West Auckland post-surf rockers Double Parked return with Lighthouse, a hopeful new single that searches for light at the end of the tunnel. Following their most vulnerable material to date, the track uses the image of a guiding beacon as a metaphor for breaking free from toxic cycles, overcoming darkness, and holding onto the possibility of a new day, with frontman Tom’s emotive vocals drifting over glistening guitars.

Written during a period of feeling stuck in repetition, producer and guitarist Ben describes Lighthouse as grappling with depersonalisation and the pressure to stay afloat for others before learning to care for himself. Known for their unruly, high-energy live shows, Double Parked have spent the summer taking the song on the road, including Rhythm & Vines and a sold-out headline show at Auckland’s Tuning Fork, while also announcing upcoming Australian dates with Yours & Owls. Since the release of their 2023 debut EP Lost in the Groove, the band have built a loyal cult following and continue to push their genre-defying “post-surf” sound, blending indie, alternative, post-punk, psych, and surf influences through a distinctly West Coast Aotearoa lens.

Lottie — Selfish girl

Selfish girl is the chaotic little sister of Lottie’s EP — a satirical, tongue-in-cheek moment that doesn’t take itself seriously at all. Leaning into the label with a smirk, the track exaggerates confidence, attitude, and drama, celebrating the freedom that comes with choosing yourself. It’s playful, self-aware, and just a little unhinged in the best way, closing the project with a wink and a reminder that not everything has to be deep — sometimes it’s enough to just have fun.

An exciting rising pop artist, Lottie pairs a professional dance background with sharp pop instincts and a magnetic stage presence. She first broke through with Gimme and Last to Admit, before her recent single Covered in Stone delivered a major surge in momentum. Fresh off opening for Prins at Auckland’s Tuning Fork, national and Australian radio play, and a standout New Year’s Eve performance for over 4,000 people, Lottie’s debut EP For What It’s Worth captures her journey through love, heartbreak, and growth — balancing candid vulnerability with shimmering pop and cementing her as one to watch in Aotearoa’s pop scene.

Breaches — Seeds

Pōneke post-punk duo Breaches return with Seeds, the title track and first offering from their forthcoming debut EP. A late-night anthem where post-punk urgency meets dancefloor pulse, Seeds thrives on tension and release, pairing driving rhythms with a hypnotic edge inspired by past tragedy and the comfort of escape — an ode to the homes that shape us and the memories that linger within their walls.

The EP, due out in February, brings together the duo’s early material alongside previously released singles and remixes, closing Chapter One and signalling a shift into a new era with further releases already on the way. Fresh off a performance at Wellington’s Gathering Shadows Festival, Breaches are set to appear at Newtown Festival on Sunday 8 March as they continue to build momentum and take the project into its next phase.

SANOI — Count It

Electronic artist Sanoi kicks off the new year with Count It, a sharp and unexpected new single released via Loop Electronic and positioned at the midpoint of his album project AUGENBLICK, which is split into Side A (released December 5, 2025) and Side B (arriving February 20, 2026). Clocking in at under two minutes, the track draws influence from the mid-2000s LA beats scene, channelling loose swing, raw rhythm, and experimental edge in a distilled, high-impact form that stands apart from Sanoi’s more familiar house and techno releases. Instead, Count It highlights the broader sonic palette explored across AUGENBLICK, where ambient textures, lo-fi beats, deep house, odd time signatures, and sub-bass experiments blur genre lines and lean into a more introspective space. Originally from Germany and now a key figure in Aotearoa’s electronic scene, Sanoi (Jonas Fischer) continues to evolve as both producer and DJ, with a catalogue spanning respected local and European labels and a reputation for pushing his sound with curiosity, precision, and playful intent.

ANTOINE AUDONNET — THE GREATEST

Sixteen-year-old New Zealand artist Antoine Audonnet returns with THE GREATEST, a quietly powerful third single that reflects on the cost of almost becoming. Rather than framing ambition as triumph, the track lives in the aftermath — the space where decisions have already been made and there’s no rewriting them. Unfolding like a confession, THE GREATEST confronts emotional avoidance, self-sabotage, and the uncomfortable truth that knowing what’s required doesn’t always mean following through.

Stripped-back and restrained in its production, the song places full weight on Audonnet’s lyrics, tracing the distance between intention and action. It’s less about failure and more about accountability — recognising the moments we step back, stay quiet, or choose the safer exit, and learning to sit with the consequences. Following his earlier releases, THE GREATEST continues to sharpen Audonnet’s emotionally direct and unguarded songwriting, offering no redemption arc by its final chorus — only clarity, and an honest reckoning with where you are now.

Psycho Gab — Compass

Tāmaki Makaurau five-piece Psycho Gab step into a new chapter with Compass, a smooth, sun-soaked slice of neo-soul that leans into warmth, groove and emotional clarity. Formed in 2023, the band — made up of Rosetta Stone (vocals), Caleb Wong (keys, production), Orlando Cooper (bass, production), Max Henley (guitar) and Finn McNeill (drums) — have carved out a sound at the intersection of soul, RnB, jazz and pop, built on lush arrangements and a clear sense of intention.

True to that ethos, Compass pairs silky melodies with thoughtful lyricism, offering a vulnerable reflection on identity, connection and balance — between self-love and community, intimacy and independence. The track’s rich, organic feel reflects the band’s hands-on approach, with members involved throughout the production process and a live, analog sensibility running through the final mix. It’s a confident, assured release that deepens Psycho Gab’s sonic world while staying grounded in honesty, groove and feeling.

PRINS — Designer

NZ pop star PRINS kicks off the year with DESIGNER, a big, bold pop-dance banger that doubles down on confidence and ambition. Driven by a club-ready pulse, polished hooks and a dark, sensual edge, the track captures an artist fully owning her lane as she builds toward her upcoming EP HEAVEN OR HELL, due out March 20. It follows a strong run of releases including HEAVEN OR HELL, COOL and Run!, which have racked up hundreds of thousands of streams and international blog support.

Lyrically, DESIGNER is about stepping into your worth and refusing to play small, a theme PRINS says reflects exactly where she’s at right now: forward-moving, unapologetic and purpose-driven. The single lands as she returns home from Los Angeles to headline a free Sunset Sounds show in Aotea Square on February 5, alongside a sold-out hometown pop-up in Ōtautahi Christchurch, marking a confident new chapter for one of Aotearoa’s most compelling pop voices.

Tali — I Feel Too Much (featuring Nathan Haines)

Tali returns with I Feel Too Much, a high-energy drum ’n’ bass/jungle track featuring Nathan Haines, and another striking preview of her upcoming album EMPRESS ERA. Following recent singles Life On The Line featuring Polaris and Young Daylight with Jordyn with a Why, the track showcases Tali’s signature blend of emotional depth and bold electronic production, building from a string-led opening into a fast, propulsive jungle drop lifted by Haines’ fluid live saxophone.

Lyrically, I Feel Too Much is a raw reflection on empathy, emotional overload, and growing up feeling everything a little too deeply. Produced by Tali and mixed by Tiki Taane, the song balances vulnerability with intensity, reinforcing her place as one of Aotearoa’s most compelling electronic artists.

Yumi Zouma — NO LOVE LOST TO KINDNESS (ALBUM)

Yumi Zouma have released their fifth studio album No Love Lost To Kindness via Nettwerk, marking a bold new chapter for the New Zealand indie-rock quartet. Recorded in Mexico City, the album sees the band shed their softer dream-pop edges in favour of a heavier, more emotionally exposed sound, built on big hooks, sharper production, and unfiltered lyricism. Across twelve tracks, the record reflects themes of distance, honesty, confrontation, and connection, capturing a group confident in their evolution and collective chemistry after more than a decade together.

Alongside the album, Yumi Zouma have shared a live video for Cowboy Without A Clue, a sweeping, sci-fi-tinged track that explores long-distance relationships through metaphor and mood. Partially recorded while guitarist Josh Burgess was travelling in India, the song features sitar contributions from Tamil artist Kumar Kishor and leans into the band’s lived experience of creating music across continents. Together, No Love Lost To Kindness and Cowboy Without A Clue underline a band embracing clarity over polish, and power over restraint.