For a nation with a population barely equal to that of an international metropolis, New Zealand's vibrant and diverse music scene commands respect for its innovative yet self-effacing approach. From the melodic pop-meisters of the pioneering indie label Flying Nun to the operatic grandeur of Kiri Te Kanawa, this small antipodean nation has produced highly talented musicians whose creativity is often overshadowed by the feats of its international athletes. Nevertheless, many New Zealand musicians have to struggle against financial odds -- an inevitable part of producing music for a small domestic market -- and some simply move on.

Mark de Clive-Lowe is the latest in a long line of young Kiwi musicians who have looked further afield. Currently based in London, de Clive-Lowe has quickly asserted himself in the above and underground dance music community, achieving what few other compatriots of his age have been able to do. However cliched it may sound, he is proving that persistence, hard work and an unwavering passion for music can provide recognition and success on an international level.

The release of de Clive-Lowe's third album, "Six Degrees," represents a pinnacle in the artist's burgeoning career. Labeled "nu-house" or "future jazz," the album weaves its way through an eclectic mix of jazz, house, hip hop, drum 'n' bass and Latin influences. Difficult to classify stylistically, it has been described as being at the mellow end of the dance market while lying at the progressive end of the jazz spectrum. Nevertheless, the album has already drawn rave reviews from a notoriously fickle British music media and made the playlists of noted DJs Gilles Peterson, Ashley Beedle, Mixmaster Morris, Kenny Dope, Kruder and Dorfmeister, Phil Asher and I.G. Culture.