As usual there are five songs chosen as finalists for the 2025 APRA Silver Scroll Award, as voted by New Zealand APRA members. We’re into the final month run up to when the Silver Scroll trophy will be awarded to one/some of New Zealand’s many talented songwriters, and the range of genres represented among this years’ finalists is testament to the musical variety that shines here in Aotearoa. The winning song will be announced and celebrated at the annual awards ceremony at the Isaac Theatre Royal in Ōtautahi on October 29. The following is a quick look at the musical framework of each track, in which I throw my humble opinion into the mix.
This beautiful track drips with nostalgia and listening to it feels like stepping back in time. The rich vocal harmonies and clean jangly guitar sound like a tip of the hat to the Māori showbands popular in the 1960s and 1970s, who showed an influence of the traditional pop and doowop groups of pre-rock and roll America.
Marlon’s smooth vocal timbre is reminiscent of the pop crooners like Sinatra and Crosby, and the vocal melody, effortlessly weaving its way through some surprising chord changes, shows all the sophistication of a staff songwriter working on Tin Pan Alley. The AABA structure is another nod to the past, though I love the way he uses asymmetrical phrases that allow the lyrics to determine the pacing. Sung entirely in Te Reo, the song beautifully merges musical and cultural traditions from both here and abroad, while simultaneously bringing the past into the present.
This head boppy song from Fazerdaze begins with a minimalist dream pop feel, blending an open 5th piano pedal with a synth bass and spacious electronic percussion. A reverb-washed synth melody serves as the melodic hook of the song while the vocals, likewise washed with reverb and echo, sit further back in the mix.
The opening section of Cherry Pie seems to be all about the vibe and atmosphere, but as the track progresses more and more layers are added, creating a texture thick with synth countermelodies, live drum fills over the electronic percussion, and overdriven guitar alongside the incessant synth bass. The abrupt changes in texture closely follow the changes in section, and help to drive the momentum of the song as the moody atmosphere gives way to a joyous sense of celebration.
A catchy indie pop song from Christchurch four-piece There’s a Tuesday, with a tight arrangement that gets straight to the point. It has a very raw and organic feel and it’s not difficult to imagine this song coming together from jamming in the practice room. There are some surprising twists in it however, as the vocal phrasing and harmonic placement often defy expectations. The verse uses a typical pop structure of four, four-bar phrases with symmetrical vocal phrasing and predictable harmonic changes.
Following a quick two-bar build up into the chorus, however, all that square symmetry is out the window and we end up with an 11-bar chorus with asymmetrical vocal phrases that dance around the underlying groove. The anticipated hits and chord changes that occur at unexpected times further detract from the straight feel of the verse, and the result is a beautiful wavering chorus that perfectly balances the groundedness of the verse. It’s a clever approach that brings a great deal of subtlety and nuance to the song.
The title says it all really. This collaboration between hip hop artists JessB and Sampa the Great is full of passion and attitude with a relentless energy that barely stops to breathe. Dancehall icon Sister Nancy also provides some spoken word on the track, adding another voice that speaks to the track’s central message of strength and forcefulness.
The synth bass line is a repeating hook throughout the track and serves as the anchor against the significant variety in the underlying beat. One of the things that really makes this track work is the contrasting delivery style of the two rappers, with JessB’s raps locked into the groove while Sampa the Great pushes and pulls against the beat. It’s a great example of contrasting styles working together.
Anyone who follows Mazbou Q on social media will have seen him break down the various rhythmic possibilities in rap, and his mastery of rhythmic subdivision and using syncopated accents to create polyrhythms is on full display on this track. The bass line and vocal lick on Torque. are sampled from Ch! Nonso’s Ka Home which, together with the added drum groove and chordal vamp, provides the perfect foundation for the rapper to shine.
There are no highly arranged changes in texture here or clever harmonic movement, but rather a soulful backdrop that provides plenty of space for him to do his thing. The lyrical theme is vulnerable and comes across as deeply personal, even confessional, while he still manages to convincingly name drop Planck, Schrödinger, and Hawkins into his flow. Without a doubt his creativity and versatility with rhyme is very impressive. As a sly wink, I love the moment when he breaks persona before the sung chorus, kind of like a musical equivalent of breaking the fourth wall. I love everything about this track and hope it gets the nod on the night.
Jeff Wragg
Spotify Playlist of all top 20 Silver Scroll songs & top 10 Maioha Award waiata
