Jonathan Bree has released the fourth and final preview of his forthcoming double album, with the hypnotic new single ‘Game’ offering another glimpse into the New Zealand artist’s evolving blend of minimalist pop, electronic music and cinematic aesthetics.
by Paul Cashmere
Jonathan Bree has unveiled ‘Game’, the final advance single from his forthcoming 17 track double album Don’t Call It Love, due for release on 27 August through Lil Chief Records via Secretly Distribution. Accompanied by a stylised new music video, the song shifts the focus back onto Bree as a solo performer after a run of collaborative singles and expands the sonic palette that has emerged across the album’s early releases.
The release marks the fourth and final preview of Don’t Call It Love, following Live To Dance, Savour My Love and Part Time Lover. Unlike the previous singles, Game does not feature guest collaborators, instead presenting Bree on his own across a deliberately restrained arrangement built around repetition, atmosphere and rhythm.
Driven by a looping bass riff, Game unfolds patiently, embracing a slow burning structure that draws influence from the motorik pulse associated with German krautrock pioneers such as CAN. The rhythm section remains tightly locked throughout, while Bree’s understated vocal delivery allows the mechanical groove to remain at the centre of the recording. The result continues the measured, minimalist approach that has become one of the defining characteristics of his recent work.
The accompanying video continues the distinctive visual identity that has become synonymous with Bree’s releases. Featuring his familiar masked appearance, the clip centres on longtime collaborator and choreographer Rebecca Stitt, who appears repeatedly as synchronised versions of herself wearing pink wigs. The choreography creates an intentionally stylised performance that blends elements of classic chorus line routines with futuristic imagery, reinforcing the theatrical aesthetic that has accompanied the current album campaign.
Across the four preview tracks, Bree has explored a broad musical range. Live To Dance paired him once again with Princess Chelsea for a dark electronic duet, while Savour My Love leaned towards torch song traditions. Part Time Lover introduced stronger 1980s pop influences. With Game, Bree shifts back towards hypnotic minimalism, suggesting that Don’t Call It Love will span multiple styles while maintaining a consistent atmospheric thread.
The forthcoming album represents Bree’s first full length project since continuing to build an international audience through both his solo recordings and collaborative work. While details of the remaining songs have yet to be revealed, the 17 track collection has been presented as his most ambitious studio release to date, bringing together electronic pop, orchestral textures and sparse rhythmic compositions.
Bree has spent more than two decades developing one of New Zealand’s most distinctive independent music careers. He first came to prominence in the late 1990s as co-founder of The Brunettes alongside Heather Mansfield. The Auckland duo became a significant part of the country’s independent music scene, releasing a series of acclaimed recordings and touring internationally with acts including The Shins, Rilo Kiley, Broken Social Scene, The Postal Service, Clap Your Hands Say Yeah and Beirut. They also appeared at Big Day Out in Australia and New Zealand.
Alongside Scott Mannion of The Tokey Tones, Bree also co-founded Lil Chief Records in 2002, a label that helped establish a new generation of New Zealand independent artists. His work as a producer and arranger expanded through collaborations with Princess Chelsea, including the internationally recognised The Cigarette Duet, which introduced both artists to a much wider global audience through its viral success.
His solo career began with The Primrose Path in 2013 before A Little Night Music followed in 2015. International recognition accelerated with You’re So Cool, whose striking masked performance video became his signature visual statement and has attracted more than 35 million views online. The anonymous aesthetic has remained central to Bree’s artistic identity, allowing the music and carefully constructed visual concepts to share equal prominence.
The sequence of singles released ahead of Don’t Call It Love suggests Bree is continuing to refine both elements simultaneously. While each song explores different musical territory, the accompanying videos maintain a coherent visual language built around choreography, cinematic references and surreal imagery.
With Game now available, attention turns to the release of Don’t Call It Love on 27 August, when listeners will be able to hear the complete 17 track collection and place the four advance singles within the broader context of Bree’s latest studio project.
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