Great Sounds Great; Bad Sounds Bad is a column which sees a panel of writers for The Corner review a range of local singles and grade them out of 10. Check out the song below, read through their opinions and let us know in the comments section your own thoughts and what you’d like to see reviewed next time around.
Oli Lewis: If this were released in the 80s it would be the soundtrack for many a yearning disco moment; it’s so kitsch! Listening to ‘Night Guy’ on a miserable afternoon in Christchurch I felt buoyantly happy, completely transported by the tracks infectious, tongue-in-cheek energy. From the opening piano chords and chiming synth, to the masterfully synthesised drum roll which introduces the song proper, ‘Night Guy’ is a heap of fun; a real pick-me-up. 
Gavin Coughlan: Argh, it’s hard to review a song that is an accurate recreation of a bygone genre I loathe; yacht rock, with a little disco thrown in. I tried to detach myself from any preconceived notions I had about this whole sound, but it’s such a loving homage that it was impossible to do so, until perhaps listen number five. Then something happened and I found myself singing along and wanting to drink cocktails with umbrellas sticking out of them on the deck of an expensive yacht, probably wearing a Hawaiian shirt, or a pastel blue blazer if the wind gets up. I may never listen to this again, but I have to admit, it’s kind of infectious. 
Luke Jacobs: ‘Night Guy’ has a lot to like. It’s smooth, well produced and it works well to establish the tone of the song. There’s nothing here that is exceptional but what is here creates a great little palette that’s never fake or strained. I wondered on repeat listening whether the horns were real or if they were just a processed instrument from Ableton. ‘Night Guy’ could stand out a bit more if it sounded well a bit sleazier. I think that could be accomplished if the bass was mixed a bit more to the front.
The ideas in the song are repeated a few times but since they are pleasant there is no problem with that for me. The way certain aspects stick out a bit sound a little off, but listening to Taste Nasa’s remix of Yumi Zouma’s ‘Riquel Me’ show that the funky chunk of ‘Nice Guy’ should have. 
Luke Oram: I’ve been a fan of Leroy Clampitt from Banglade$h’s stuff. He can crack a catchy pop hook through the covers, and the touches he’s added to Loui The ZU’s stuff is cool too. He’s a graduate of this small local cadre of prolific, pre-twenties musicians who dress normcore, don’t give a shit about the genre du jour and just love making tunes in their bedrooms. There’s a certain naivety about ‘Night Guy’ that’s refreshing. He hasn’t wrung his hands over what’s ‘cool’ or not, he’s just made a track he digs. The bassline’s straight from Off The Wall, the vocals sound like Morrissey-does-disco, the off-kilter sax break is just kooky enough. I mean, the dude is making music from a whole other generation. Even the most dogmatic of hipsters have to respect that. 
Nick Raven: There is a stunning sunset after a perfect days summer bliss. I was lounging on my million dollar yacht sipping champagne when the song stopped.
Shit. I lost myself for a while there.
I love the bass line in this song. Its groovin’. I’m back in zone having just listened to ‘Night Guy’ for about the hundredth time. The sax is the deal breaker. An upbeat catchy tune that sings of palm trees and good times. I can’t get enough! 
Michael Kerby: You know from 3 seconds in that this is going to kill. I have a hunch the lead singer is winking at us throughout (there is a saxophone solo after all), but fuck him — it’s a great song. Might even go buy it just to spite the prick even further. 
Stephen Clover: Lately I’ve really been enjoying some chopped ‘n’ screwed disco.. in both senses.. and on that front ‘Night Guy’ doesn’t disappoint at all. Those B-sections and the middle-eight just kill at 33%. The New Zealand dialects are the cream and the cherry-flavoured sweet on the top. 
Hayden Currie: This sounds similar to a lot of the intentionally cheesy disco throwback stuff around at the moment, and it’s probably good at being that, but not at all my thing. 
Chloe Cairncross: ‘70s, ‘70s, ‘70s, but, boy, is it good! Funky riffs, saxophones, and piano sweeps abound; this track has fun with its disco pastiche and is consequently a real toe-tapper. My only issue is that it sounds almost too authentic – I cannot wax lyrical about something that does not sound entirely original and unique. A cop-out criticism really but listen for yourself and you’ll feel a little unfulfilled mentally but definitely keen to get up and dance.