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.
Nick Raven: I’m not surprised to hear that Joel Little and Jaden Parkes produced this track. Its very Lorde-esque, and that’s not a bad thing. Some would say its a very good thing. Where Lorde’s production is aimed at mainstream audiences Indi is much more alternative – more delays and weird sampled sounds, which I like. Underneath it all is brilliant song craft. There’s not much to moan about here. 
Gavin Coughlan: Indi also sings for Christchurch band Doprah, and this isn’t a million miles removed from their nineties trip-hop sound. At times it brings early Tricky to mind before lunging in to the chorus, which goes full dreamy electro pop. I love the false ending about two thirds of the way in and the fuzzy build to nothing right at the end.
It should get a lot of attention for the fact that Joel Little is the producer, and anything he turns his hand to is sure to get some welcome post-Lorde scrutiny, and this certainly deserves it. 
Luke Jacobs: ‘Stay’ is pretty and sweet which makes repeat listening a pleasure. I listened to it four times in a row and there were enough little moments that made it feel fresh every time. The sparkle the song has is very special and there is a tiny fraction of abrasive noise that just adds to the drama of the song.
The keys and washed out synth sounds make it so easy to get lost in time. The layers and layers of sound never feel cloudy and the sun bursts through at times in a way that to me feels very exciting. Can’t wait to hear more. 
Oli Lewis: Okay, so this is amazing. Perhaps if I hadn’t already seen Indi live though I would have noted the production credits, particularly the name Joel Little, and cynically dismissed this as shameless bandwagoning. Please don’t make that mistake. ‘Stay’ is one of the more beautiful examples of minimalist, electronic pop I’ve ever heard. The interplay between its layered, spacious percussion and swelling minor synthesisers left me spellbound; it’s euphoric. For example, there’s this moment just before the final chorus, where everything thins out and breathes in, that creates an enormous sense of expectation. Typically this would be resolved by pounding bass, the construction that Indi employs however is far more transcendent: her voice (which is heavenly, breathy and perfectly suited for the kind of music she makes) lilts upwards, ballooned by lush clouds of synths. It’s perfect and, honestly, I can’t recommend her enough. Go see her. 
Chloe Cairncross: The Bandcamp page uses the tag “dreamy” for Indi’s work. I’m afraid I don’t have too much more to offer than that simple one-word description. There is nothing at all bad about this track. In fact, it provided a relaxing soundscape to the articles I was reading online (I got easily distracted from focusing my attention upon the nuances of ‘Stay’, you see?) It’s very…nice. That terrible word, “nice”. Let’s put it this way: I would not turn this song off if it came on unexpectedly but I would not actively search it out either. 
Elizabeth Beattie: There’s something I really enjoy about this track, yet simultaneously there’s elements I find slightly grating. The rhythm is enjoyable and the percussion flows well through the song. The drawback for me lies in the production which is very slick and tight making the rawer moments of the song feel a little contrived. There are also moments where simplicity instead of overdubs would be far more enjoyable. Overall the songwriting shows promise with the track just needing a slightly stronger cohesion of all the elements.