{"id":2305884,"date":"2026-03-01T02:22:43","date_gmt":"2026-03-01T02:22:43","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2305884"},"modified":"2026-03-01T02:22:43","modified_gmt":"2026-03-01T02:22:43","slug":"all-83-albums-nominated-for-the-2026-taite-music-prize-reviewed","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/all-83-albums-nominated-for-the-2026-taite-music-prize-reviewed\/","title":{"rendered":"All 83 albums nominated for the 2026 Taite Music Prize, reviewed"},"content":{"rendered":"<p><\/p>\n<div>\n<p><span>Before the Taite Music Prize shortlist drops next week, Max Johns listens to whatever the New Zealand music industry has to throw at him. Again.<\/span><\/p>\n<p><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/28-02-2025\/all-81-albums-nominated-for-the-2025-taite-music-prize-reviewed\" target=\"_blank\"><em><span>Read reviews of all 81 albums nominated for the 2025 award here.<\/span><\/em><\/a><\/p>\n<p><span>Pity the people who run the annual Taite Music Prize. It\u2019s nerve-racking enough for Independent Music New Zealand (IMNZ) that the prize honours Dylan Taite (1937-2003), a music journalist with unimprovable taste and an undeniable ability to always be noticed. On top of that, they need to find a winning album based on originality, artistic merit, creativity and excellence. You can\u2019t just scan the music charts or chuck on a What\u2019s Hot playlist.<\/span><\/p>\n<p><span>So, how to unearth the successor to <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/17-04-2025\/ill-dedicate-it-to-david-seymour-taite-music-prize-winner-mokotron-on-what-comes-next\" target=\"_blank\"><span>current holder Mokotron<\/span><\/a><span> (for his subwoofer-shaking onslaught of deep M\u0101ori bass, WAEREA) or <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/17-04-2025\/ill-dedicate-it-to-david-seymour-taite-music-prize-winner-mokotron-on-what-comes-next\" target=\"_blank\"><span>2024\u2019s Vera Ellen<\/span><\/a><span> (Ideal Home Music, a fragile and personal wonder)? At stake is a $12,500 cash prize, a hefty T-shaped trophy, and one of the most treasured titles in our little country\u2019s entertainment industry.<\/span><\/p>\n<p><span>Luckily IMNZ have designed a very clever system that ensures underground obscurities have as much chance as smash hit platinum records. The secret? It\u2019s an absolute free-for-all.<\/span><span>\u00a0<\/span><\/p>\n<p><span>Any of IMNZ\u2019s 1,000+ members, or anyone who stumps up a hundred bucks, can nominate any 2025 album they like, even their own. It\u2019s got to be local enough, long enough (6 tracks, 20 minutes), and 75% new songs. That\u2019s it. The whole lot then goes a massive vote of around 1,200 musicians and industry types. This year there are 83 hopefuls.<\/span><\/p>\n<p><span>It\u2019ll get a little more formal next Tuesday when a ten-album shortlist goes in front of a secret, elite judging panel.<\/span><\/p>\n<p><span>For a particular type of local music enthusiast, the longlist is an annual Aoraki of listening. It contains enough newish local music to fill seven work days, or one absolute bender of a long weekend. You know there\u2019ll be some blindingly good shit, some deafening dross, and everything in between. You know it\u2019ll sound like us.<\/span><\/p>\n<p><span>So, let\u2019s start climbing.<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/0aFj1rYYWsq4WlhRpBLQjP?si=990df22b7b724467&amp;utm_source=oembed\" height=\"352\" width=\"100%\" aria-label=\"Spotify Embed: Taite Music Prize longlist 2026\" frameborder=\"0\" title=\"Spotify Embed: Taite Music Prize longlist 2026\" class=\"\"><\/iframe><\/p>\n<h2><strong>1. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/alienweaponry.bandcamp.com\/album\/te-r\" target=\"_blank\">Te R\u0101<\/a>, by Alien Weaponry<\/strong><\/h2>\n<p><span>And we\u2019re off with a massive bang. Alien Weaponry\u2019s <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/28-03-2025\/a-community-effort-alien-weaponry-on-their-most-complex-maori-metal-album-yet\" target=\"_blank\"><span>M\u0101ori-infused thrash metal<\/span><\/a><span> has been earning fans around the world for years now. The best bits of Te R\u0101 (\u2018Crown\u2019, \u2018Te Riri o T\u0101whirim\u0101tea\u2019) mix stonking riffs, te reo and haka in a way that could only be Alien Weaponry. Less distinctive English tracks replace decolonisation with nu metal angst. Precision, anger and energy burn bright, and Henry de Jong\u2019s drumming is a headphone highlight.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Crown\u2019<\/span><\/p>\n<p><b>Taites history: <\/b><span>Best Independent Debut Award winners and Taite Music Prize finalists, 2019 (T\u016b)<\/span><\/p>\n<p><span>An electronic album that squeezes a lot out of its machines, keyboards and turntables. Dancefloors, soundscapes, oldskool trance reboots and novelty chiptune throwbacks are all thrown together. Add kitschy vocal samples from Lucy Lawless and <\/span><span>Thunderbirds<\/span><span>, and it\u2019s like listening to pop art. Fun fact: Alphabethead\u2019s name is indeed David.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018I\u2019m Lucy Lawless\u2019<\/span><\/p>\n<p><span>Without the thumping rhythm section of <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/nz-on-air-music\/31-01-2018\/15-years-of-die-die-die-the-punk-band-that-wont-yknow-die\" target=\"_blank\"><span>Die! Die! Die!<\/span><\/a><span>, Andrew Wilson\u2019s trebly, fuzzy guitars scratch rather than punch on this lo-fi solo debut. That\u2019s a jagged counterpoint to his heavily-echoing voice, but it\u2019s almost as if the sounds want to hide behind each other. Some good lyrics are hard to pick up. A new experiment, but not his best.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018HATE GUITARS\u2019<\/span><\/p>\n<p><b>Taites history: <\/b><span>Finalist with Die! Die! Die!, 2011 (Form)<\/span><\/p>\n<p><span>Raceways Of My Heart transports you to a daytime, all-ages rave. In the Vengabus. It\u2019s stupid, it\u2019s fun, it\u2019s electropop on fast forward.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Space Holiday\u2019<\/span><\/p>\n<p><span>Six tracks of pop-punk race by in 17 minutes, and it\u2019s a positively deep experience after Baby Zionov. Professionally done, party-ready stuff that calls back to the 2000s while still sounding fresh. Consistent enough that every song has radio-friendly potential, catchy enough that something big might happen.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Caroline\u2019<\/span><\/p>\n<p><span>Bannister (The Changing Same, <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/30-08-2017\/i-definitely-had-a-chip-on-my-shoulder-matthew-bannister-on-the-return-of-sneaky-feelings\" target=\"_blank\"><span>Sneaky Feelings<\/span><\/a><span>, etc) tackles the concept of time with the unjaded curiosity of a youngster and the cultural touchpoints of a smart guy in his fifth decade of songwriting. Thoughtful lyrics include Byrds and Beatles references as his light rock switches between guitar, piano and keys. (Disclosure: Bannister is in my Wednesday night cricket team \u2013 go the Lumee Spuds \u2013 and didn\u2019t realise that his album was nominated.)<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018What\u2019s So Good About the 60s?\u2019<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"The Bats - Corner Coming Up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/jzccjEgnmHY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><span>For most of their 44 years The Bats\u2019 biggest strength, and weakness, was a catchy indie rock formula that barely changed. <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/10-02-2017\/the-album-cycle-new-releases-reviewed-from-syd-the-bats-tinariwen-more\" target=\"_blank\"><span>As The Spinoff said of The Deep Set<\/span><\/a><span> in 2017, \u201cthis sounds like every other Bats album\u201d. Not anymore. Corner Coming Up is slower and deeper, with texture and angles that a younger band couldn\u2019t create. A couple of songs return to old patterns (see \u2018A Crutch A Post\u2019), but the reflective and more mature tracks are where the album will grow on you.<\/span><\/p>\n<p><b>One for the playlist (except it\u2019s not on Spotify):<\/b><span> \u2018Song for the End\u2019<\/span><\/p>\n<p><b>Taites history: <\/b><span>Finalists, 2012 (Free All The Monsters)<\/span><\/p>\n<h2><strong>8. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/open.spotify.com\/album\/4Efv3tKDF9CjVkE4nj8P95?si=ZfI3K1a7SyOtiOProTBR_Q\" target=\"_blank\">High Tide<\/a>, by BB &amp; The Bullets<\/strong><\/h2>\n<p><span>Blues rock from a trio that I now really want to see live, because there\u2019s some serious chops here. Plentiful cover versions draw on Booker T. Jones, Bo Diddley, Rufus Thomas, BB King and, most boldly of all, \u2018I Want You (She\u2019s So Heavy)\u2019 by the Beatles. Brian Baker\u2019s originals hold up but don\u2019t get close to reaching the 75% mark that the Taite Music Prize requires. Good, but disqualified.<\/span><\/p>\n<p><b>One for the playlist, and make it original:<\/b><span> \u2018Brian\u2019s Boogie\u2019<\/span><\/p>\n<p><span>Maybe \u2013 just maybe \u2013 there might one day be another New Zealand band that can match Beastwars for sludge metal riffs. But vocalist Matt Hyde\u2019s controlled howls and jet engine screams? Never. The Ship \/\/ The Sea is possibly a little more melodic than previous albums, but no less heavy. It\u2019s a low aural assault; a relentless storm. Genuine legends.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Blood Will Flow\u2019<\/span><\/p>\n<p><b>Taite history:<\/b><span> Finalists in 2012 (Beastwars), 2014 (Blood Becomes Fire), and 2020 (IV)<\/span><\/p>\n<h2><strong>10. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/belladonnamusicnz.bandcamp.com\/album\/arcus-way\" target=\"_blank\">Arcus Way<\/a>, by Belladonna<\/strong><\/h2>\n<p><span>Acoustic, understated and insular, Belladonna is everything that Beastwars are not. The gear change is almost physical. Belladonna\u2019s compositions, just big enough to fill a bedroom, blend folk and country ballads. We are lifted out of sad-girl territory by artistic touches: beautiful harmonies, choir-like backing vocals, and lap steel guitar.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Comedown\u2019<\/span><\/p>\n<p><span>A rock duo with more ideas than direction. Raspy vocals gain, but don\u2019t always hold, attention as songs reach 7 or 8 minutes. Guitar pedals get a good workout through 11 tracks that show off a range of influences. Ideally you\u2019d get the impression of lots of loose cleverness. Instead it seems aimless.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Destroyed Chords\u2019<\/span><\/p>\n<p><span>Smoother, slower funk than the space-infused Episode I. More soul, and more syrup too as a classy group covers a lot of ground. Serious moments pay tribute to young mothers and dead friends. Feel-good tracks take you back to a 70s dance floor.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Lightning Cracking\u2019<\/span><\/p>\n<p><span>There was always going to be one clanger. Bladymaniac wants to tell it like it is, have a few laughs, and hopefully offend a few people along the way. Get that right, and it won\u2019t matter that you\u2019re not exactly a great musician. But the targets are obvious \u2013 ads are bad, drinking is fun, global warming alarmists are over the top \u2013 and the \u201cit\u2019s a joke, mate\u201d defence works only if you\u2019re funny.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Am I OK\u2019<\/span><\/p>\n<h2><strong>14. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/emilycbrowning.bandcamp.com\/album\/primary\" target=\"_blank\">PRIMARY<\/a>, by Emily C. Browning<\/strong><\/h2>\n<p><span>Our first dose of out-and-out pop hits hard on the opening title track, and your head will keep nodding all the way through to the halfway point, a genuinely lovely 99-second interlude called \u2018Fruit\u2019. It feels like Browning is just taking a quick breath, but in fact she\u2019s shifting to a quieter gear for the remainder. Radio-ready range.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Primary\u2019<\/span><\/p>\n<h2><strong>15. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/danicabryant.bandcamp.com\/album\/feast\" target=\"_blank\">Feast<\/a>, by Danica Bryant<\/strong><\/h2>\n<p><span>We\u2019re staying pop for <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/authors\/danicabryant\" target=\"_blank\"><span>Danica Bryant<\/span><\/a><span> whose self-awareness, tinged with cynicism, makes for a very assured debut album. There are brains behind the glittery makeup. \u2018Burlesque Witch\u2019 and \u2018Narcissist\u2019 address her inner pop star, and suggest that other ambitions might be better. Some of Feast is made for the club, some of it leans more indie. It\u2019ll be interesting to see which path Bryant picks.<\/span><span>\u00a0<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Narcissist\u2019<\/span><\/p>\n<p><span>Bar rock with strong vocals from Priya Sami, and some fantastic backing and harmonies thrown in too. A repeated chorus of \u201cfuck yoooou\u201d never sounded so good. Also standing out: retro, space age keyboards. Pew pew. <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/09-05-2025\/review-bub-release-their-debut-album-with-some-very-special-guests\" target=\"_blank\"><span>Sami sings of boy troubles<\/span><\/a><span>, friends who get too drunk at parties, and a very specific, longlasting celebrity crush (\u2018Mrs Casablancas\u2019).<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Another Girl\u2019<\/span><\/p>\n<h2><strong>17. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/ffm.to\/harrycharles-movement\" target=\"_blank\">Movement<\/a>, by Harry Charles<\/strong><\/h2>\n<p><span>Eclectic and well assembled, Movement explains itself through a vocal sample about the way each movement of an orchestral symphony moves its listeners, literally and figuratively, in a different way. Charles brings together electronica\u2014some danceable, some contemplative\u2014guitar ballads and funky hip hop into a work of art that I wanted to immediately put on repeat.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Smoke &amp; Dust\u2019 (feat. Senzu)\u00a0\u00a0\u00a0<\/span><\/p>\n<h2><strong>18. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/benchavasse.bandcamp.com\/album\/boxing\" target=\"_blank\">Boxing<\/a>, by Ben Chavasse<\/strong><\/h2>\n<p><span>An engaging and mature blend of folk, rock and jazz. Chavasse writes songs for thinking to, and tailors a different ensemble for each (thoroughly credited on Bandcamp). Slide guitar, violin, various saxophones, cello and double bass combine in different, deliberate ways. His smart lyricism makes each song a story with few easy rhymes or cliches. High quality stuff.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Pip Dog\u2019<\/span><\/p>\n<p><span>Hard, sometimes only hardish, rock from a young band with a sound that could have come from any of the post-grunge years. They know what they\u2019re going for \u2013 a little bit indie, a little less metal \u2013 and they do it well. Out front Bella Bavin\u2019s vocals and Arlo Birss\u2019 guitar both get time to shine. From a Taite point of view, the \u201coriginality\u201d box can\u2019t be ticked, but that\u2019s not the point of this album.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Greener\u2019<\/span><\/p>\n<p><span>Atmospheric, loud-quiet-loud jazz rock offset by a well-trained voice and a brass section that thickens already-dense arrangements. <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/14-12-2024\/a-great-song-is-one-you-can-dance-and-cry-to-elliott-dawsons-perfect-weekend-playlist\" target=\"_blank\"><span>Engaging as<\/span><\/a><span>. My wife dismissed the crescendos as \u201ctoo bangy\u201d, so I stopped asking for her opinion. Dawson has a new fan, and repeated listening will pay off. I\u2019ll be back.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Going Nowhere\u2019<\/span><\/p>\n<p><span>A short, quiet and very pleasant listen. Eight songs whip by in 18 minutes. Whispered vocals and acoustic guitar are the centre. They\u2019re augmented by theremin, Hawaiian slide guitar, and little touches of choppy, sampley production. Arty and interesting.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Every Little Boy in Auckland\u2019<\/span><\/p>\n<p><span>A short, loud, and deeply political listen. 13 songs whip by in 25 minutes, driven by high paced drumming and Lucy Suttor\u2019s in-your-face vocals. Production budgets have gone up, but Dick Move\u2019s anger and energy are unchanged in this full-on party punk assault. Men and money, and especially men with money, are targets; urban workers are championed. You\u2019ll wanna yell along to \u2018Up The Bus\u2019 (\u201cThank you driver!\u201d), and to the repeated closing refrain, \u201cPower! Tripper! Mother! Fucker!\u201d<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Scared Old Men\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Finalists, 2024 (Wet)<\/span><\/p>\n<p><span>Like Coast Arcade (#19), Dropper are here to work within their chosen rock genre, not to push boundaries. And, again, it\u2019s one of those sounds that has been relevant for decades now. Their poppy, alternative punk comes with some sharp guitar solos and hints of August Is Falling.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Is the Worrying Working?\u2019<\/span><\/p>\n<p><span>Echomatica\u2019s sound is built on broad synths and slow guitars. It\u2019s atmospheric and cinematic, a little like Explosions in the Sky without the explosions. Although song tempos vary, the energy level stays too consistent throughout this album. In a single listen I couldn\u2019t quite pick up the source of the sameness, which detracts from some good tracks.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Heartbeat\u2019<\/span><\/p>\n<p><span>A mixtape from a genuine genreblender. If there\u2019s a base flavour, call it psychedelic hip hop. At its more animated, we hear UMO-like electrofunk. Around the edges are tiny hints of everything from industrial to trap. Energy oscillates nicely, with a mostly upbeat front paving the way to a more laid back Side B.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Heatstroke\u2019<\/span><\/p>\n<h2><strong>26. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/hokimadiharrecords.bandcamp.com\/album\/low-key-ep?fbclid=PAVERFWAMhsQRleHRuA2FlbQIxMQABp2UBoiQmAV30LneHjfXZM2xTkajpPZMi_9-J4860fD2BMdf4Fg7dmT-KSp28_aem_Zu9vlyL9my_7dEvCQaO0pA\" target=\"_blank\">Low-Key EP<\/a>, by \u82b1\u6eaa Flowerstream<\/strong><\/h2>\n<p><span>There are six tracks, so this 10 minute, 18 second wonder qualifies as a Taite album. Played on Chinese instruments with western beats and very few vocals, each sets a mood that you can only just catch before it\u2019s over. This EP is short, sharp, and gorgeous. \u2018Hua\u2019 lasts about 80 seconds before closing on a captured studio exchange:<\/span><\/p>\n<p><span>\u201cThat was perfect.\u201d<\/span><\/p>\n<p><span>\u201cYes.\u201d<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Hua\u2019<\/span><\/p>\n<h2><strong>27. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/ffm.to\/fmp-elemental\" target=\"_blank\">Elemental<\/a>, by Fly My Pretties<\/strong><\/h2>\n<p><span>When Wellington was the centre of the NZ music universe, all brass and backbeats, the ever-evolving Fly My Pretties collective was its ultimate form, with charming collaborative shows that mixed ramshackle and polish. Elemental is more serious and less captivating. It\u2019s no rehash of the old days, with M\u0101ori performers and te reo brought to the fore. Pleas for cultural unity almost flatten down to \u201ccan\u2019t we all just get along\u201d, and the cast are less musically inventive than you\u2019d hope. The highest energy comes towards the end, but my attention was waning.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018The Boldest Truth\u2019<\/span><\/p>\n<p><span>Straight from the earworm farm, Foley\u2019s danceable pop is fun and unchallenging. Shiny songs about love, relationships and feelings all have some nice production touches. The Taite has been won from the mainstream before \u2013 in 2014 Lorde handed the prize money to the other finalists \u2013 but it\u2019s probably the toughest lane.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018That\u2019s Life, Baby!\u2019<\/span><\/p>\n<p><span>One of two previous Taite Prize winners on this year\u2019s longlist, Reb Fountain sings, \u201cNote to self, There are no second comings\u201d (\u2018Over Joy\/ed\u2019). There\u2019s plenty of the deep, slow and poetic alt-folk that we\u2019ve come to expect, with some welcome expansions into other territory, as on the fuzzy bass-led \u2018Drake\u2019 and the quicker \u2018City\u2019. There are layers to work through: lyrical nods to the Stone Roses and Sin\u00e9ad O\u2019Connor left me wondering what I\u2019d missed.\u00a0\u00a0<\/span><\/p>\n<p><b>One for the playlist: \u2018<\/b><span>He Commands You to Jump Into the Sea\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Winner, 2021 (Reb Fountain); finalist, 2022 (IRIS)<\/span><\/p>\n<h2><strong>30. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/genevaam.bandcamp.com\/album\/pikipiki-2\" target=\"_blank\">PIKIPIKI<\/a>, by Geneva AM<\/strong><\/h2>\n<p><span>Bilingual, accessible album with heart and thump. Mostly pop, but varied arrangements bring in strings and other accompaniment for Geneva AM\u2019s great voice. The beautiful and brutal \u2018Urban Planning\u2019 describes a home where maunga and awa have been turned into airports and motorways. Yet positivity seeps out even in sad songs. \u2018Meet Again\u2019, sung to a dead friend, has a comical touch on Heaven\u2019s dancefloor. With \u2018P\u014dkarekare Ana\u2019 done as rock, \u2018T\u016btira Mai Nga Iwi\u2019 reformed for the dancefloor and \u2018Purea Nei\u2019 pulled into d&amp;b territory, only seven of its 10 songs are originals. Disqualifying, but worth it.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Urban Planning\u2019<\/span><\/p>\n<p><span>Grecco Romank have lost their way. After the thunderous, psychosexual horror show of Wet Exit (2023), Arts Colony drops the masochism and replaces it with a blend of uninsightful politics and\u2026 observational comedy about getting to Rainbow\u2019s End? It\u2019s driven by flat retro-electro beats, overly long at an hour-plus, and sometimes dangerously close to being a novelty record.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Don\u2019t Get Caught\u2019 (with Princess Chelsea)<\/span><\/p>\n<p><span>One of two albums of kids\u2019 music on the list, and why not? It\u2019s a genre that requires full commitment, and the audience is judgemental as hell. (Children, yes, but also sleep-deprived parents listening for the 500th time.) Gunn\u2019s won national awards, and she\u2019s a genuine musician who gives each song its own character. Once is enough for me but if you\u2019ve got preschoolers, get in. Diggers, rainbows, bath time, all the classics.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018The River Song\u2019<\/span><\/p>\n<p><span>Outsider folk and a complete \u2013 and welcome \u2013 change of direction from March Of The Anorax (2024). With guitar in hand Holt, who is no perfectionist, knocks out some pleasant-enough solo ditties, plays alongside synthesised strings, and throws back as far as Sherwood Forest.\u00a0<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Riddle Me This\u2019<\/span><\/p>\n<p><span>Huia\u2019s pop stays light through the opening third of Kawakawa, until Baitercell\u2019s d&amp;b breaks hit in \u2018K\u0101kano, Seed\u2019. Energy shifts like that are effective, since musically there\u2019s nothing groundbreaking here. It\u2019s sung almost entirely in te reo M\u0101ori, leaving this monoglot with nothing to say about its lyrics.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Ao P\u014d, Daynight\u2019<\/span><\/p>\n<p><span>This annual Taite Music review marathon is worth every hour when you find gems that you\u2019ve overlooked til now. WLOLOTOT is about cities, suburbs and streets; leaving, arriving and being home. It\u2019s an electronic album that far exceeds that short description, a singer-songwriter\u2019s creation that welcomes you into their life. Here\u2019s hoping that Taite voters are less ignorant of it than I was.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Long Grass, Wet Shoes\u2019<\/span><\/p>\n<p><span>Laidback acoustic rock with a country shuffle. No surprises are in store for anyone who remembers Taite finalist Brave Star. Things get a wee bit psychedelic in \u2018Fuselage\u2019, but otherwise Lark plays it pretty straight. There are no low points, but a mid-tempo sameness sets in towards the end.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Fuselage\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Finalist, 2024 (Brave Star)<\/span><\/p>\n<p><span>This was in my ears while I walked among the other adults at my local mall, and it was a really weird vibe. Genuinely buzzed for Matariki now, though. It\u2019s a pretty cool theme for a kids\u2019 album (the songs are star-inspired so Wait\u012b\u2019s one is about protecting rivers, Tupuarangi\u2019s introduces the M\u0101ori names for various fruits, and so on). I did not do the Ururangi Dance, but I kinda wanted to.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Ng\u0101 Whet\u016b O Matariki\u2019<\/span><\/p>\n<p><span>Track one on Disco Witch is called \u2018Disco Witch\u2019. It\u2019s a disco song about a witch called Disco Witch. It is seven minutes long, and not to be mistaken for track seven, \u2018Disco Coven\u2019 (or track three, \u2018Disco Heart\u2019). With its jumping bass and high strings, this album faithfully revives a genre that was never known for nuance. Admittedly the final track, \u2018Aphrodite\u2019, has a bit of modernity. It comes after two remixes of \u2018Disco Witch\u2019.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Roseberry Avenue\u2019<\/span><\/p>\n<p><span>Jazz, with a touch of funk, from a trio (and guests) who know how to have fun and share the spotlight. Entirely instrumental, with most solos on trumpet or sax, and grooves that stretch from blues to samba.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Cape Blues\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Saxophonist Nick Atkinson was a finalist with Hopetoun Brown in 2017 (Look So Good).<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"M\u0100 - TrapsJam (Studio) [Official Music Video]\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/JYww5UxUtLQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><span>M\u0100 is seriously talented, and I wish I\u2019d known this album already. Scenes shift from the city to the bush, words shift from te reo M\u0101ori to English, music shifts from R&amp;B to rap and beyond. The Taite Music Prize looks for art that entertains (or entertainment that\u2019s art), and often goes to albums that sum up the times we\u2019re in. With its eye on the climate crisis, Blame It On The Weather would be a deserving finalist. In the bluesy, boozy rap of \u2018Miss U\u2019, M\u0100 picks up Tom Scott\u2019s (#64) old baton \u2013 another nod in the right direction.<\/span><\/p>\n<p><b>One for the playlist (except it\u2019s not on Spotify):<\/b><span> \u2018Mahi\u2019<\/span><\/p>\n<p><span>On the cover Jazmine Mary is slung back on a motorbike, stripped half naked with a cigarette hanging out of their mouth. Rock n\u2019 roll as, but it\u2019s a bluff. On the record they sing delicate, bluesy, dark-tinged folk. Their voice floats above the bar smoke, occasionally dropping to surprising lows. An original and careful album that feels like a contemplative late-night conversation.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Narcotics Anonymous Meeting\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Winner, Best Independent Debut Award 2022 (The Licking of a Tangerine)<\/span><\/p>\n<p><span>Literally a once-in-a-lifetime album, \u201cdedicated with sympathy to the boy I once was, and with empathy to the woman I will be\u201d. A transitioning McCurdy is our main character and narrator as time shifts around and perspective moves between child and adult, internal and external, male and female. Eloquent, vulgar lyrics address God, genitals, the classification of species, sex, the taking of pills and of names, and cucks. EFMFS is a crash of mashy electronica, post-punk, industrial moments, freeform sax, indie rock, guitar solos\u2026even if it was instrumental it would still be an absolute mindtrip.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Comfortable?\u2019<\/span><\/p>\n<h2><strong>43. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/mildorange.bandcamp.com\/album\/the-glow\" target=\"_blank\">The\/\/Glow<\/a>, by Mild Orange<\/strong><\/h2>\n<p><span>Airy rock soaked in echo and reverb. There\u2019s a timelessness and, yep, even a glow to it all. Unhurried and content, The\/\/Glow could soundtrack afternoon beers or a summer roadtrip. Similar vibes to the Phoenix Foundation and Tame Impala \u2013 high quality touchpoints indeed. \u2018Drive Character\u2019 is a triumphant closer.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Searching For\u2019<\/span><\/p>\n<p><span>Contemplative country from a spacious place where life isn\u2019t always easy. Dad\u2019s hopes are in the dirt, age slows us all down, and it\u2019s hard to pack up and follow your dreams when you\u2019re with a man who you love for some goddamn fool reason. Some songs feature front-porch fiddle, others are more modern and rocky. Either way it\u2019s a gritty landscape, but there\u2019s always hope at home.\u00a0<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Wives Who Wait\u2019<\/span><\/p>\n<p><span>Prickly, bluesy indie rock with something aggressive hidden under the surface. It seethes at targets external (\u201cI don\u2019t want to see you dance\u201d) and internal (\u201cI\u2019m not a person anymore\u201d). Double-tracked vocals near the top of Dan Jones\u2019 range pull in the same direction as Jack White, and \u2018God Damn Enthusiast\u2019 makes great use of a Psycho Killer bassline. A dark, controlled debut.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Sunrise\u2019<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"Tami Neilson &quot;NEON COWGIRL&quot; feat. Neil Finn\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/SBkjgJoGk1Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><span>A grandiose opening, all sweeping strings and thumping pianos, makes you wonder whether <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/04-10-2025\/nobody-is-there-to-see-me-tami-neilson-on-touring-with-bob-dylan-and-willie-nelson\" target=\"_blank\"><span>this Neon Cowgirl<\/span><\/a><span> is related to a certain Rhinestone Cowboy. But Neilson soon shifts through quicker gears, hitting the dancefloor at an old-school Nashville party. And, far out, that voice! Guest stars get blown away: victims include JD McPherson and Neil Finn. Whether boogying or balladeering, she\u2019s an absolute country queen.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Borrow My Boots\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Finalist in 2015 (Dynamite!), 2019 (SASSAFRASS!), 2021 (Chickaboom!), and 2023 (Kingmaker)<\/span><\/p>\n<p><span>A recording collective that sounds like a country blues bar band, if not the same country blues bar band each time. The songs aren\u2019t tied together and the cast of vocalists rarely combine, which feels like a missed trick. The brassy numbers work best and it sounds like a good time was had by all.\u00a0<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018El Toro\u2019<\/span><\/p>\n<p><span>We\u2019re past the halfway point now, and Isla Noon\u2019s pop, sometimes with indie or whispery touches, struggles to stand out. In the classic loud\/quiet\/loud pattern that she follows, the bigger moments are better. There are some smarter-than-average lyrics and one interestingly introverted banger.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018I Need To Go Home\u2019<\/span><\/p>\n<p><span>Ny Oh ranges from country ballads to jazzier songs, none of them loud and some with a touch of Latin rhythms and guitar flourishes. A couple of tracks break the pattern: \u2018Conduit\u2019 is cool in 5\/4, and the verses of \u2018Bloom Baby Bloom\u2019 are a single note chant that will stay with you. The misfits are the best bits.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Conduit\u2019<\/span><\/p>\n<h2><strong>50. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/music.drm.co.nz\/river-dark\" target=\"_blank\">River Dark<\/a>, by Greta O\u2019Leary<\/strong><\/h2>\n<p><span>Another quiet one. A girl, a guitar, and an understated backing band thread their way from country to alt-folk. O\u2019Leary has a sweet, clear voice and a mournful sort of love on her mind: \u201cI\u2019m so lucky my baby left me\u201d. \u2018Baptised At The Desktop Computer\u2019 gets weird and wonderful results by throwing the template away and giving a starring role to a very old drum machine.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Baptised At The Desktop Computer\u2019<\/span><\/p>\n<p><span>T\u2019would be easy to believe that this was a new remix album from a 60s jazz and soul singer. Classic chord progressions and solidly structured songs are made ethereal and experimental by choppy, non-linear production. <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/05-03-2023\/the-diverse-and-delightful-soundscapes-of-arjuna-oakes\" target=\"_blank\"><span>Arjuna Oakes<\/span><\/a><span> changes octaves like actors change costumes. If two songs can capture the album, \u2018Lay Low\u2019 strips away the layers and shows Oakes\u2019 plaintive class. Then a deep headnodder, \u2018Before It\u2019s All Over\u2019, is built around a reversed drumbeat and escalates into swirling, sampled voices and strings.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Before It\u2019s All Over\u2019<\/span><\/p>\n<p><span>Indira Force\u2019s second solo album comes under a new name and with a lot of space and surreality. Its world is slightly off-kilter and dreamlike, with operatic voices, plenty of harp, staccato percussion, and layered instruments from around the world. Bj\u00f6rk could never be copied, but she\u2019s a definite touchstone here. Playful experiments, haunting scenes, and plenty in between.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Will o\u2019 the Wisps\u2019<\/span><\/p>\n<p><span>Slow-burning desert rock with indigenous influences and big ambitions. Spirits are drawn from the earth, as on the campfire chants of \u2018Elders\u2019, and the PA is blasted with deep jams (\u2018The Seed\u2019) and heavy riffs (\u2018Sky\u2019). But most of this album is caught in between moods and overly literal, scene-setting verses dampen the vibe. There\u2019s something here though. Keep an eye out.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018The Seed\u2019<\/span><\/p>\n<h2><strong>54. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/phoeberings.bandcamp.com\/album\/aseurai\" target=\"_blank\">Aseurai<\/a>, by Phoebe Rings<\/strong><\/h2>\n<p><span>Crystal Choi has assembled a proficient, smooth indie jazz band, but I wonder whether Phoebe Rings is only a side project for too many of them. The backing is overly predictable and sprinkled with 80s keyboards. Choi\u2019s voice could take you anywhere, but this feels like we\u2019re stranded in a hotel bar.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Mandarin Tree\u2019<\/span><\/p>\n<h2><strong>55. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/pickledarling.bandcamp.com\/album\/bots\" target=\"_blank\">Bots<\/a>, by Pickle Darling<\/strong><\/h2>\n<p><span>Bots\u2019 quiet songs are assembled from fragments, like musical mosaics. Acoustic guitar, keyboards and whispery vocals are made warm and headphone-ready by studio (well, laptop in a bedroom) trickery. Lyrically, it\u2019s about a spiraling relationship. <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/24-05-2025\/the-christchurch-musician-who-made-a-video-game-about-making-an-album\" target=\"_blank\"><span>Pickle Darling<\/span><\/a><span>\u2019s voice is sometimes direct, sometimes distorted and pitch-bent into different characters. Delightful earworm \u2018Massive Everything\u2019 lifts the whole album.\u00a0<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Massive Everything\u2019<\/span><\/p>\n<h2><strong>56. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/open.spotify.com\/album\/3UN9wpq2rgNIZU4Fr8EJeM?si=wULUXiVrRE2imJHY2QaBHg\" target=\"_blank\">Hard Road<\/a>, by Merv Pinny<\/strong><\/h2>\n<p><span>I\u2019m just about to write that Pinny stays deep inside the bounds of country blues, when suddenly he slaps me with an electro-Celtic jig, complete with bonnie lasses. <\/span><i><span>This is why we listen all the way through, people.<\/span><\/i><span> Otherwise Hard Road is steadfastly American with call-and-response preaching, heaps of drinkin\u2019, devil women, freedom and rights, and well-arranged brass that lifts some numbers up nicely.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Too Much White Too Much Red\u2019<\/span><\/p>\n<p><span>Hard rock and fast riffs played with full energy. They\u2019re raw and capable young metallers who have thoroughly researched the 90s and 80s for good influences. Every song is moshpit-ready except the obligatory acoustic closer. Clarke West\u2019s guitar is a fully-formed highlight, surrounded by a good band with space to keep getting better.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Dutchies\u2019<\/span><\/p>\n<p><span>Rei\u2019s here to spark an indigenous revolution, and to ensure you take better care of yourself. Distinctly NZ music includes high-quality hip hop, pop, pacific reggae and even 80s disco. It brings you back to the air, the whenua, the chiefs immortalised in the stars. In spoken interludes narrator\/guide Jessica Aotea keeps you primed for the fight, and stresses the importance of self-care routines. There\u2019s pin-sharp bilingualism (take \u201cI\u2019m from Aotearoa \/ I don\u2019t even know what a Zealand is\u201d, or \u201cThey talk the talk, we walk the hikoi\u201d) and an entire track designed to <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/politics\/05-06-2025\/what-was-chris-bishop-thinking-an-earnest-attempt-to-figure-it-out\" target=\"_blank\"><span>give Chris Bishop an aneurysm<\/span><\/a><span> (\u2018Toit\u016b\u2019), right down to its Don McGlashan reference.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Haka Through the Pain\u2019<\/span><\/p>\n<p><span>Nadia Reid is a three-time Taite finalist, and this is her fourth album. You do the maths. Here a deeply talented singer-songwriter looks to prove her prowess beyond alt-folk or Americana. It\u2019s an expansion, not a complete departure. She\u2019s joined by a full rock band for some tracks, backed by trumpets on another. A new-ish mother, her songs reevaluate life priorities with a grown-up self-assurance.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Hotel Santa Cruz\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Finalist in 2016 (Listen to Formation, Look for the Signs), 2018 (Preservation), and 2021 (Out Of My Province)<\/span><\/p>\n<p><span>A seriously inventive and talented band (and also a personal favourite). You never know where <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/15-06-2024\/your-exit-song-for-any-party-ringlets-share-their-perfect-weekend-playlist\" target=\"_blank\"><span>Ringlets<\/span><\/a><span> are going next, but their songs always tie together nicely. Angular and poetic, they swerve between arty post-punk, math rock, shoegaze and more \u2013 sometimes all in the same song. Technical chops, a sense of humour, and a stronger voice than 2023\u2019s self-titled debut. Highly recommended.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Street Massage\u2019<\/span><\/p>\n<h2><strong>61. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/robotsinlove.bandcamp.com\/album\/activate\" target=\"_blank\">ACTIVATE!<\/a>, by Robots in Love<\/strong><\/h2>\n<p><span>Ever wanted to go headbanging at a rave? ACTIVATE!\u2019s collision of metal riffs and electronic beats works better when frontwoman Elenor Rayner commits to the bit, putting entertainment above art. The softer, less experimental tracks get dreary. A sharper album could be excised from the full 57 minute experience.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018The Sequel\u2019<\/span><\/p>\n<p><span>A summery blend of funk, soul, reggae and rock that carries an unmistakable New Zealandness. There\u2019s a kinetic energy to the whole thing, and it\u2019ll feel familiar even on a first listen. Fits in more than it stands out.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Ecstasy\u2019<\/span><\/p>\n<p><span>Deep ambient beats and soundscapes packaged into nine short tracks. There are organic touchpoints \u2013 is that whalesong? \u2013 and far out moments, as when a space princess explains that it\u2019s the year 10191 and we travel not by moving, but by bending space. Side B will be out by the time you read this and the whole thing will fit on a less-than-futuristic cassette. Half a sonic adventure.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018It Might Take Some Time\u2019<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"making of ANITYA\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/oVuuop2iCDw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<h2><strong>64. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/tomscott.bandcamp.com\/album\/anitya\" target=\"_blank\">ANITYA<\/a>, by Tom Scott<\/strong><\/h2>\n<p><span>Technically a solo debut from a singular talent with a hell of a back catalogue. Scott\u2019s work keeps getting more autobiographical, reflecting a life neither totally straightforward nor happy. The album is personal, slow and introspective as he turns over a lot of stones and admits a lot of fault. Addressing his son: \u201cI\u2019m sorry that your home got broken\u201d. To his new love: \u201cI don\u2019t believe in love no more\u201d. Scott sings more than ever, but remains a phenomenal rapper. Ironically ANITYA is an open book without many ways in for the uninitiated. This one\u2019s for him, for the longtime listeners, for his family.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018probably me\u2019<\/span><\/p>\n<p><b>Taites history:<\/b> <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/17-04-2019\/fuck-ive-lost-this-thing-four-times-already-tom-scott-wins-the-taite-music-prize\" target=\"_blank\"><span>Winner, 2019<\/span><\/a><span> (with Avantdale Bowling Club); finalist with Home Brew (2013 &amp; 2024) and @peace (2013, 2014 &amp; 2015)<\/span><\/p>\n<h2><strong>65. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/ffm.to\/traces-album\" target=\"_blank\">Traces<\/a>, by Rhian Sheehan &amp; Arli Liberman<\/strong><\/h2>\n<p><span>It\u2019s a pity that this came so soon after Sanoi, because it\u2019ll sound unoriginal when I use the phrase \u201cambient soundscapes\u201d. But, verily, it is what it is. Sounds that grow and shrink in no rush, the music of breathing slowly, slipping into dreams. Carefully assembled, but unlikely to be a Taite contender.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Immaru\u2019<\/span><\/p>\n<p><span>Bright rock from a band that makes something relatively original from a standard template \u2013 two guitars, major chords, verse-chorus-verse. Slightly jangly with vocals forward in the mix and some lovely harmonies. Touches of Britpop, or Apples in Stereo with less of a 60s swing. The first half hits harder; the second lacks variety until they happily turn up the amps for the last two minutes. More of that, please.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Good Morning\u2019<\/span><\/p>\n<p><span>Post-punk band Soft Bait revolves around vocalist Joshua Hunter, who owns every minute of Life Advice. More yelling than singing, his lyrics twist cliches and conversational tics into something cynical and confronting, while frantic energy feeds in from clattering guitars and thumping bass grooves. Take \u2018Safe As Houses\u2019, where classic kiwi housing market chatter becomes a thoroughly engrossing attack on your neighbourhood. It\u2019s great stuff.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018TNT\u2019<\/span><\/p>\n<p><span>Less extroverted than you might expect from Sola Rosa, New Tomorrows comprises three R&amp;B grooves sung by AKOSIA, three jazzier jams with Lewis McCallum, and a couple of slower numbers with Joe Probert. It\u2019s a loungy, late night after party with more rhythm than soul.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018New Tomorrows\u2019<\/span><\/p>\n<p><span>Slow-to-medium instrumental rock is very hard to do without it sounding like something\u2019s missing. Logan Wedgwood must enjoy hard mode, because he takes on that challenge fully DIY, writing and recording everything himself. It\u2019s no insult to say that he\u2019s no guitar virtuoso, which cuts down on melodic possibilities. Built around chord progressions and arpeggios, these sound like backing tracks.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018The Dark Side of Melody\u2019<\/span><\/p>\n<h2><strong>70. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/michaelatempers.bandcamp.com\/album\/good-woman\" target=\"_blank\">Good Woman<\/a>, by Michaela Tempers<\/strong><\/h2>\n<p><span>Artistic folk musician with a vibratous voice. Six songs with a serious veneer and playful undertones. Drums repeatedly gate-crash the title track, changing its tempo and time signature. \u2018Nothing To Lose\u2019 starts as a ukulele number, but by its end is all sweeping piano and classical strings. Cleverly surprising.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Good Woman\u2019<\/span><\/p>\n<p><span>High and breathy, with a childlike innocence, <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/26-10-2024\/strong-in-our-culture-thriving-in-our-language-theias-perfect-weekend-playlist\" target=\"_blank\"><span>Theia<\/span><\/a><span>\u2019s voice belies the seriousness of this short album. It gives her songs the air of fairy tales, but they\u2019re much more Grimm than Disney, stalked by the underlying evil of colonisation. In \u2018Patupaiarehe\u2019, a white-as-snow girl with blue eyes has her land stolen for 1000 years. The 3\/4 beat of \u2018BALDH3AD!\u2019 recalls the music of a merry-go-round, then of Ka Mate. \u2018Bury Ur Children\u2019 only needs 44 seconds to make its point. Discomforting, utterly singular, and so very good.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Hoki Whenua Mai (Return the Land)\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Winner, Best Independent Debut Award 2023 (as TE KAAHU, for Te Kaahu O Rangi)<\/span><\/p>\n<h2><strong>72. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/theresatuesday.bandcamp.com\/album\/blush\" target=\"_blank\">Blush<\/a>, by There\u2019s A Tuesday<\/strong><\/h2>\n<p><span>Indie rockers of a controlled, mid-tempo sort. Dual vocalists Nat Hutton &amp; Minnie Robberds fit together very well and songs are carefully constructed to show off their harmonies. The Beths-like Silver Scroll nominee \u2018Margo\u2019 stands out.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Margo\u2019<\/span><\/p>\n<p><span>Activist M\u0101ori hip hop with a number of guests and some very well selected samples of speeches from K\u012bngi T\u016bheitia, Hone Harawira, Moana Jackson, and Hana-R\u0101whiti Maipi-Clarke, among others. It\u2019s an uplifting and uniting album, staunch in its pride and politics, and clear about the work to be done together. In Taite terms, Tipene shares a lane with at least two more inventive acts, Theia (#70) and Rei (#58).<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Pepeha\u2019<\/span><\/p>\n<p><span>An amateur passion project inspired by early trip hop. Songs are hook-free, based on one or two loops and a trebly drum machine \u2013 Blue Lines on a tight budget. It\u2019s a thin sound and Tottle\u2019s voice doesn\u2019t rise above.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Phoenix Rising\u2019<\/span><\/p>\n<p><span>Had to double-check this, because there\u2019s not a note of New Zealand in its deeply American country rock. Regan Tucker is highway driving with the radio on, he\u2019s raising a glass to old timers, he\u2019s bootstomping with his darling. There\u2019s grit in his voice and plenty of blues in his guitar. Not groundbreaking but definitely enjoyable. Oh, and look up Triggar Happy\u2019s unlikely story of local chart success.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018TAP TAP\u2019<\/span><\/p>\n<p><span>Gangsta rap from an autistic 20-something. All the cliches are here, especially tough days growing up (\u201cI remember PE and social studies \/ I remember getting hated by all the hunnies\u201d). There\u2019s an occasional flash-forward to his \u201cfamous rap superstar\u201d future but the redemption arc lacks a middle. Ghettos, guns and violence flash by in rhyming couplets: \u201cI\u2019m tired of losing friends and the people I care about \/ I lost too many friends that I don\u2019t even know their whereabouts\u201d.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018The World Is Fake\u2019<\/span><\/p>\n<p><span>Metal that comes with an aggressive solidity at times, balanced by more accessible tracks. Jai Oakley has an ear for a good melody and plenty of energy. The lyrical angst suits the musical mood. Another rock entry that has roots in the mid-90s without sounding dated.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Hypertrophic\u2019<\/span><\/p>\n<p><span>A true oddity in which simple instruments chop their way around stream-of-consciousness lyrics. Imagine you\u2019re seven years old and the weird kid from school invites you over. Most of their toys are broken, but they have a ukulele and an old keyboard with preset beats. There\u2019s no time to rehearse, so you make the best of a bad situation.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Modern Folk\u2019<\/span><\/p>\n<p><span>A mere 19 years after the last Voom album, SGIH picks up right where they left off. It\u2019s another mix of fuzzy songs pulled together from solo home recordings and more complete band sessions. No pretense, probably not many rehearsals, just lo-fi indie rock done very well. There\u2019s structure and heart under its tumbledown exterior: a deceptive number of genuine love songs, all joyful in different ways.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Trouble\u2019<\/span><\/p>\n<p><span>Quiet country from an American New Zealander (and friends). It\u2019s fuller than a campfire sound but scarcely louder, with subtle piano and harmonica amongst Wilder\u2019s carefully arranged ballads. He sings of the boundless outdoors and the small lives of characters who inhabit it. It could be a simple life, but for human complications.\u00a0<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Birmingham, Al\u2019<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"Marlon Williams - Aua Atu R\u0101 (OFFICIAL VIDEO)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/pMMhLbxiqJ4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><span>At only 35, <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/pop-culture\/24-06-2025\/review-marlon-williams-first-ever-stadium-show-was-glorious\" target=\"_blank\"><span>Williams is an elder-statesman-in-waiting of Aotearoa music<\/span><\/a><span>. On Te Whare T\u012bwekaweka, sung entirely in te reo M\u0101ori, he blends contemporary touches into a range of musical traditions. There are serious show ballads, schoolyard kapa haka, country tunes, gorgeous waiata, and a bit of the old M\u0101ori strum. New songs meet familiar sounds, complete with special guest stars (Lorde!). I liked it but, monolingualism being what it is, I literally didn\u2019t know what I was listening to. Any M\u0101ori speakers who want to join me for 2027\u2019s Taite Music Prize reviews, please hit me up.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018Aua Atu R\u0101\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Finalist in 2016 (Marlon Williams), 2019 (Make Way For Love), and 2023 (My Boy)<\/span><\/p>\n<p><span>Slow, considered work by a band that exists mostly to create dream-like settings for Cello Forrester\u2019s high and whispery vocals. Pleasant and moody, but mostly the same mood. The opening and closing tracks cleverly reflect each other, while the ghostly \u2018Interlude 2\u2019 breaks things up and makes one wonder what happened to \u2018Interlude 1\u2019.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018One Is Always Heading Somewhere\u2019<\/span><\/p>\n<h2><strong>83. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/alisaxayalith.bandcamp.com\/album\/slow-crush\" target=\"_blank\">Slow Crush<\/a>, by Alisa Xayalith<\/strong><\/h2>\n<p><span>Ten months old and almost every song has hundreds of thousands of Spotify streams. Unimaginable numbers for many in this list, but they look small for Xayalith\u2019s solo debut. She is guaranteed an audience, but they\u2019ll bring heavy expectations after her <\/span><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thespinoff.co.nz\/nz-on-air-music\/23-06-2020\/the-naked-and-famous-on-the-hustle-and-the-heartbreak\" target=\"_blank\"><span>Naked and Famous past<\/span><\/a><span>. To be the voice of \u2018Young Blood\u2019 (342 million streams, 2010 Silver Scroll, etc etc) is a debilitating privilege. Unsurprisingly the electropop of Slow Crush is less pacey and more mature than TN&amp;F. Songs are openly romantic, soaked in heartbreak and hope. The voice of a pop star, the story of a woman who\u2019s figuring some stuff out.<\/span><\/p>\n<p><b>One for the playlist:<\/b><span> \u2018What The Hell Do We Do Now?\u2019<\/span><\/p>\n<p><b>Taites history:<\/b><span> Finalist, 2011, with The Naked and Famous (Passive Me, Aggressive You)<\/span><\/p>\n<p><!-- --><\/p>\n<p><span>Now headphones off, and exhale.<\/span><\/p>\n<p><span>It\u2019s my third year doing this, and this is the longest list yet. Most music industry news seems to be doom and gloom these days, but the creators keep creating. To every single one of them: you\u2019re awesome.<\/span><\/p>\n<p><span>If there are any trends to pick out this year, they\u2019re not too different to 2025. We\u2019re lucky to have so many musicians who value creativity over perfect formulas. Country is still cool. Today\u2019s young rock fans are at huge risk of listening to music that their parents would recognise. Te reo M\u0101ori is an ever bigger part of what we\u2019re making and listening to these days, as it should be. I\u2019ve had a great time.<\/span><\/p>\n<p><span>And now to predictions, which I hate. According to my scrawled notes, there are 20 albums that I reckoned would make the shortlist (of 10) on Tuesday. My own personal top ten is even longer. So, after a short, brutal moment with a red pen, my 10 personal votes go to:<\/span><\/p>\n<ul>\n<li aria-level=\"1\"><span>Alien Weaponry<\/span><\/li>\n<li aria-level=\"1\"><span>Beastwars<\/span><\/li>\n<li aria-level=\"1\"><span>Elliot Dawson<\/span><\/li>\n<li aria-level=\"1\"><span>Dick Move<\/span><\/li>\n<li aria-level=\"1\"><span>Lake South<\/span><\/li>\n<li aria-level=\"1\"><span>M\u0100<\/span><\/li>\n<li aria-level=\"1\"><span>Napoleon Baby!<\/span><\/li>\n<li aria-level=\"1\"><span>Pickle Darling<\/span><\/li>\n<li aria-level=\"1\"><span>Ringlets<\/span><\/li>\n<li aria-level=\"1\"><span>Soft Bait<\/span><\/li>\n<li aria-level=\"1\"><span>Theia<\/span><\/li>\n<\/ul>\n<p><span>Yes, I know there\u2019s eleven of them and no, I\u2019m not going to fix it. Anyway, my predicted <em>actual<\/em> Taite shortlist for 2026 is:<\/span><\/p>\n<ul>\n<li aria-level=\"1\"><span>Beastwars<\/span><\/li>\n<li aria-level=\"1\"><span>Dick Move<\/span><\/li>\n<li aria-level=\"1\"><span>Reb Fountain<\/span><\/li>\n<li aria-level=\"1\"><span>Maebh McCurdy<\/span><\/li>\n<li aria-level=\"1\"><span>Tami Neilson<\/span><\/li>\n<li aria-level=\"1\"><span>Arjuna Oakes<\/span><\/li>\n<li aria-level=\"1\"><span>Greta O\u2019Leary<\/span><\/li>\n<li aria-level=\"1\"><span>Nadia Reid<\/span><\/li>\n<li aria-level=\"1\"><span>Tom Scott<\/span><\/li>\n<li aria-level=\"1\"><span>Marlon Williams<\/span><\/li>\n<\/ul>\n<p><span>If that\u2019s half right, I\u2019ll take it as a win. Speaking of winning, the Taite Music Prize will be awarded in April. Plenty of time for you to make your way through the playlist and find a sonic treasure that you wouldn\u2019t have discovered any other way.<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/0aFj1rYYWsq4WlhRpBLQjP?si=990df22b7b724467&amp;utm_source=oembed\" height=\"352\" width=\"100%\" aria-label=\"Spotify Embed: Taite Music Prize longlist 2026\" frameborder=\"0\" title=\"Spotify Embed: Taite Music Prize longlist 2026\" class=\"\"><\/iframe><\/p>\n<\/div>\n<p><em> \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n<p><em> \u2018 Some details of this article were extracted from the following source thespinoff.co.nz \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Before the Taite Music Prize shortlist drops next week, Max Johns listens to whatever the New Zealand music industry has to throw at him. Again. Read reviews of all 81 albums nominated for the 2025 award here. Pity the people who run the annual Taite Music Prize. It\u2019s nerve-racking enough for Independent Music New Zealand [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2305885,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25179],"tags":[396017,22056,446686],"class_list":["post-2305884","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-comments-enabled","tag-pop-culture","tag-taite-music-prize"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/03\/All-83-albums-nominated-for-the-2026-Taite-Music-Prize.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2305884","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2305884"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2305884\/revisions"}],"predecessor-version":[{"id":2305886,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2305884\/revisions\/2305886"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2305885"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2305884"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2305884"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2305884"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}