New Music 28/11
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Otis Tate — Memory Lane
Otis Tate returns with his third single, Memory Lane, a reflective indie-rock track that blends his signature energy with a more vulnerable edge. The Tāmaki Makaurau artist — known for bringing liveliness and enthusiasm to everything he creates — turns his focus inward this time, exploring the quiet ache of letting go. The song traces that familiar urge to revisit old relationships or places, only to realise that what once felt special can’t always be recaptured.
Memory Lane marks a proud moment for Otis Tate — a compelling step forward from a rising indie act whose music continues to be shaped by sincerity, momentum and unmistakable passion.
vaint halo — evilbands
Vaint Halo is a 20-year-old artist from Wellington who’s redefining what it means to make music without limits. Blending underground hip-hop with flashes of heavy metal, R&B, and old-school rap, he’s built a sound driven entirely by emotion — raw, unpredictable, and unfiltered. What began as teenage freestyling inspired by D Savage’s “Joker” has evolved into a fearless creative identity, marked by vulnerability, intensity, and a refusal to fit the mould. His rise through Aotearoa’s underground scene has earned him slots opening for UK rapper SL and performing at Victoria University’s O-Week, with a reputation for electrifying performances that match the honesty of his music.
His new single evilbands captures that ethos at full tilt. The track leans into his signature fusion of contrasting energies while reflecting real growth in both sound and vision. It’s sharp, emotive, and unapologetically Vaint — a reminder that his mission is bigger than any one genre. He’s here to push boundaries, champion originality, and prove that Kiwi artists can think globally while staying true to their roots.
Coppelia — Summer Fling
A short, steamy summer romance. What’s not to love? Summer Fling is Coppelia’s breezy new anthem, overflowing with lazy–arvo warmth and salt-air charm. With their audience steadily climbing past 1.7K monthly listeners and their debut festival slot at Matakanarama on the horizon, the band is gearing up for a season of sweat, smiles, and maybe a few flings of their own.
Known for their high-energy live sets, Coppelia dial back the chaos this time, serving up a sun-soaked blend of indie and reggae rock topped with a dreamy sax solo and a sly swing. Whether you’re barefoot on the beach, lounging on the deck, or stuck in the city yearning for a getaway, Summer Fling slides right into that classic Aotearoa summer mood.
Coppelia’s season is just getting started — expect warmth, plenty of buzz, and maybe even a little mischief along the way.
Belladona — Arcus Way (ALBUM)
Arcus Way marks a striking new chapter for Belladonna, stepping away from the quirky, guitar-driven indie-pop of her earlier EPs Salty Dog and Total Eclipse of My Brain. The shift was sparked by a devastating house fire that wiped out Bella Cook’s flat and everything in it — a moment that pushed her back to the bare essentials of songwriting. Armed with just an acoustic guitar, she rebuilt her creative world piece by piece, allowing simplicity and honesty to guide her. That raw, reflective space shaped the foundation of Arcus Way, a record that feels like a reclamation of self.
Produced with Wellington guitarist Chris Armour, the project embraces a lo-fi, intimate sound inspired by Bella’s long-standing love of tape machines and the unpolished warmth of artists like Elliott Smith. Determined to make a truly Wellington record, she pulled together local talent including Dianne Kreig, Dayle Jellyman and Hikurangi Schaverien-Kaa, with mixing and mastering by Bevan Smith. Supported by an NZ On Air New Tracks grant, lead single “Driving Home For Christmas” set the tone — understated, close-to-the-chest, and deeply human. Arcus Way captures a songwriter returning to her core, valuing what truly matters after losing everything else.
Evie Bamford — Moneybag
Tāmaki Makaurau indie-rock artist Evie Bamford steps into her solo era with Money Bag, alongside her first headline show at Ponsonby Social Club on 6 December. Recorded live on a Matakana farm with engineer Ally Doe and self-produced by Evie, the track threads jazz-influenced indie rock with satirical bite, complete with a sharp trumpet solo, rhythmic twists, and a synth-soaked bridge.
Built around the pressures facing young New Zealanders, Money Bag skewers the grind of capitalism, career anxiety, and the relentless 40-hour work week. With contributions from Rory Johns, Hugo Butler, Jeremy Richardson, and James MacEwan, the song’s recurring line “it’s just my life anyway, it’s just my time all day” plays with the absurdity of how much of ourselves is swallowed by work.
Evie wrote the track during a period of feeling boxed in by Aotearoa’s job market and rising living costs. Channelling that frustration into sardonic lyrics and clever arrangement, she turns personal burnout into something cathartic, witty, and sonically adventurous. Blending her background in jazz and classical music with indie-rock warmth, Evie Bamford is quickly carving a distinctive space in the Auckland scene, and Money Bag is a striking first step.
Lipstick — Hardly Know Her
Wellington indie/alt-rock outfit Lipstick return with Hardly Know Her, a tense and danceable new single that channels the sharp, angular pulse of Interpol and Bloc Party. Driven by a hypnotic plucked guitar line and a soaring chorus, the track dives into desire, denial, and self-sabotage — the messy thrill of wanting someone you know you shouldn’t.
Following the success of their 2025 release You & Me, which cemented their place as one of Te Whanganui-a-Tara’s most exciting rising acts, the new single pushes Lipstick into darker, more urgent territory without losing the immediacy and hook-heavy writing that defines their sound. Since emerging in 2024, the band have built a loyal following with fiery live shows and a run of support slots for Racing, Where’s Jai, Half/Angel, New Candys and more.
Produced and mixed by Joe Ledword (Wet Denim) and mastered by Chris Chetland (KOG Studio), Hardly Know Her captures Lipstick at their most confident yet. The single also marks the final release ahead of their forthcoming EP, Better Ways to Spend the Night, due early 2026.
Yawner — Monkey Say
Wellington’s newest heavy-hitting R&B force Yawner announce their debut single Monkey Say as the first taste of their upcoming EP set for 2026. Built on a tight, groove-driven foundation and elevated by the unmistakable timbre of vocalist Eeden Brown, the track captures the group’s refined sound and the chemistry they’ve honed since forming in late 2024. The release comes paired with a music video directed by Jamin Forlong and Lenuasi Tamapeau Su’a.
Lyrically, Monkey Say cuts straight to the heart of one-sided relationships, calling out those who offer little in return for the effort and emotional maturity they’re given. The line “trading love for cheap delight, tell me, is it worth the price?” frames the song’s message — that neglect and complacency eventually carry consequences.
After a handful of shows in 2025 and months of quietly developing their debut body of work, Yawner are poised for a breakout year. Early teasers of “Monkey Say” have already gained strong traction on TikTok, pulling in around 30,000 views and signalling big momentum heading into 2026.
La Coco — ECHOES & EMBERS (EP)
After a run of striking singles, Aotearoa soul/R&B standout La Coco unveils her gorgeous sophomore EP ECHOES & EMBERS, a six-track collection steeped in mid-tempo R&B and neo-soul, rich with imagery and emotional clarity. It’s a record that shines a light on one of the country’s most powerful voices, pairing Coco’s velvet tone with songwriting that’s wise, tender, and deeply evocative.
Told entirely from her perspective, ECHOES & EMBERS reflects on a relationship remembered for its beauty, and the quiet process of letting go. Produced by YOGIC BEATS and engineered by Troy Kelly, the EP includes earlier singles Linger and Rhythms, as well as Coco’s latest release Moving Shadows an atmospheric, slow-burn track that captures the stillness of late-night drives and the reflective glow of golden hour. Inspired by watching someone she cares about navigate their own emotional world, Coco builds the song around their sanctuaries: the open road and the water’s edge — places of calm, clarity, and honest thought.
Based in Wellington and of Samoan and Māori heritage, La Coco continues to forge her own path in contemporary R&B, blending orchestral warmth with raw, intimate storytelling. ECHOES & EMBERS is her most fully realised work yet; immersive, visual, and full of heart.
1 Drop Nation — THE WAY WE LOVE (ALBUM)
Ōtautahi six-piece 1 Drop Nation are sliding into summer with THE WAY WE LOVE, their uplifting new album out today. Already making waves across the roots, rock, and reggae scene, the band has been steadily building hype over the past year with singles like the radio favourite Proud, the funk-soaked Supernova featuring Laughton Kora, and the stirring title track The Way We Love, which has clocked more than 120,000 Spotify streams. Their feelgood streak continues with Nothing’s Wrong and their brand-new single Irie Loving, a breezy collaboration with East Coast legend Chad Chambers.
Irie Loving captures that blissed-out state where the world slows down and everything feels sun-drenched and vivid — a chance to switch off, reset, and breathe. “It’s a mood, a vibe, a sort of mental vacation,” says frontman Kanei Johnson. That feeling carries across the album, shaped with the help of iconic Wellington producer Dr Lee Prebble (L.A.B., The Black Seeds, Trinity Roots). The band describe this third record as their strongest yet — a true reflection of who they are as six individuals operating as one whānau.
Featuring standout collaborations like Can I with Lion Rezz and the heartwarming closer Family with vocals from the band’s own tamariki, THE WAY WE LOVE cements 1 Drop Nation as one of Aotearoa’s most exciting live acts. After back-to-back albums in 2022 and 2023 and a growing reputation for high-energy shows, this new release feels like their defining summer soundtrack — warm, vibrant, and full of heart.
Charis — No one likes ur stupid tattoo
CHARIS returns with No one likes ur stupid tattoo, a bold, empowering pop release born from a moment of heartbreak — or, more accurately, the petty glory of being ghosted by a guy with a ridiculous tattoo. Instead of letting the experience sting, CHARIS has flipped it into a powerful anthem of self-worth, humour, and unapologetic honesty. The track arrives with a special release party at Eva Bar, Wellington, celebrating not just the song but the community forming around it.
CHARIS is known for her magnetic stage presence and deeply vulnerable pop–soul artistry. Her mission is to inspire audiences to embrace their real selves, while lifting up fellow artists and championing authentic storytelling. In the lead-up to the release, she’s taken “NOLUST” nationwide through radio interviews and premiere performances, sparking a movement that’s resonating with listeners across the motu. Entirely independent and self-managed, CHARIS continues to carve her own path — and this release marks another confident stride toward the stadium stages she’s destined for.
Zoe Scott — Burn The Witch
Zoe Scott is a Te Whanganui-a-Tara indie folk artist whose work blends vulnerability, power, and cinematic storytelling. Her sound shifts between hushed intimacy and sweeping expansiveness, threading ethereal harmonies and organic textures through lyrics that read like both confession and spellwork. Drawing on her travels and recent studies at Te Kunenga ki Pūrehuroa – Massey University, Zoe explores themes of shame, lust, love and violence, creating songs that resonate with anyone drawn to raw emotion and atmospheric worlds.
Her new single, Burn the Witch is a fierce ode to femme resilience, reclaiming a title historically used to silence women and gender-diverse people. The track builds from quiet contemplation to a powerful, ritual-like crescendo — driven by layered vocals, dynamic percussion and searing lapsteel — as Zoe interrogates the contradictions femmes face within patriarchal systems. “It’s about their anger, their beauty, their mess,” she says. “Why do you hate all you want?”
Sunset Tsunami — Mr Midnight / Dynamite
Sunset Tsunami return with Mr Midnight / Dynamite, a double single that leans into dub warmth, hip hop grit, and deep, rolling groove. Out now via Loop Recordings, the two-track release showcases the duo’s knack for blending sun-soaked textures with beat-driven production.
Mr Midnight is all bounce and brightness — built on skanking guitars, wandering basslines and crisp percussion, with playful vocal snippets adding colour to the instrumental flow. Its laid-back swagger is matched by the B-side, Dynamite, which digs further into dub and instrumental hip hop. Crafted on an Akai MPC and layered with spring reverb, tape delay and dusty vinyl samples, it carries a slow-burning groove that feels hypnotic and analogue to the core. “We wanted to capture the spirit of the old dub clashes, but flip it with hip hop swagger and cinematic tension,” the duo explain.
Together, these tracks offer a snapshot of Sunset Tsunami’s signature sound — rootsy, rhythmic and irresistibly transportive — setting the tone for their upcoming debut album DUB TILL DAWN, arriving January 2026.
Fredwyn — Te Matagi
Te Matagi by Fredwyn is a powerful new addition to the HIVA FOLAU VAKA – Vaka Carrying Music compilation, offering a deeply moving reflection on resilience and faith. Sung in Gagana Tokelau, the song centres on te matagi — the wind — as a metaphor for life’s challenges, “lukitau,” arriving from every direction with force and uncertainty. Rather than resisting the storm, the song encourages embracing it: lifting the sail, trusting the process, and allowing the very thing pushing against you to become the force that carries you forward.
Co-written with Penehe Tulafono and produced by Tenei ‘10A’ Kesha, Te Matagi blends heartfelt storytelling with warm, uplifting Pacific sonics — a stirring contribution to a project dedicated to revitalising and celebrating Pacific languages through music.
HIVA FOLAU VAKA - Vaka Carrying Music (ALBUM)
HIVA FOLAU VAKA – Vaka Carrying Music is a landmark 22-track compilation honouring the Pacific’s most vulnerable languages, released today as part of the 20th anniversary of the Pacific Music Awards. Bringing together a powerful mix of celebrated and emerging Pasifika artists, including Maisey Rika, Tipene, Vitinia, Eseta, Kitoria, Fredwyn, Nayeza and more, the project features new music in Vagahau Niue, Te Gagana Tokelau and Te Reo Māori Kuki ‘Āirani. Produced by top talents such as Vince Harder, David Atai and Tenei ‘10A’ Kesha, the album blends traditional and contemporary styles to create future classics, led by the vibrant single Penina He Moana and the collective waiata Tala-Noa.
Crafted through collaborative gatherings in Auckland and Wellington, the project offered many artists the chance to write in their own languages for the first time, strengthening connection, identity and cultural pride. Those involved describe the experience as deeply meaningful, reinforcing the role of music in sustaining language, storytelling and wellbeing across Pacific communities. With HIVA FOLAU VAKA, the Pacific Music Awards Trust hopes to spark renewed interest in language revitalisation — encouraging families to listen, learn and pass these songs on. More than an album, it’s a cultural vessel carrying Pacific identity into the future.
Rosetta — Miss Passion
Rosetta steps into her boldest era yet with Miss Passion, a rhinestoned, flirt-forward anthem about lust, confidence, and owning your femininity without apology. It’s not a love song; it’s a lust song. A playful, powerful declaration from a young woman who knows her worth and refuses to tone herself down.
The Miss Passion era celebrates being “too much” in the best possible way: glossy, cheeky, and full of pink-hot attitude. Drawing inspiration from 2000s–2010s pop icons, Rosetta blends Britney-level sparkle and Katy-Perry sweetness with her own It-girl aesthetic: rhinestoned minis, platform heels, ripped tights, and glossy lips.