This song is taken from the only new album released in the 1990s by Kiwi music legends Hello Sailor. In an AudioCulture profile of the band, writer Murray Cammick praised the Dave McArtney-penned track as one of two strong additions to the Hello Sailor canon (alongside song 'New Tattoo', also from 1994). The music video features the band playing (on a Ponsonby street, in a derelict building) intercut with archive clips (famous sporting moments, returned servicemen, Edmund Hillary, hikoi, the Beatles tour), echoing the song’s lyrical themes of waning memories and nostalgia.
This ambitious video for Head Like a Hole's cowpunk Bruce Springsteen cover was shot by commercials company Flying Fish — at vastly more expense than the low budget recording which supplies the soundtrack. There's more than a cursory nod to U2's LA rooftop video for 'Where The Streets Have No Name' (including fake radio coverage from Channel Z). But HLAH get a higher building, and, unlike U2's guerrilla effort, the apparent blessing of the city fathers (with Mayor Mark Blumsky on site). The video marked one of the last appearances of drummer Mark 'Hidee Beast' Hamill.
Flying Nun supremo Roger Shepherd says this 1991 single release saw the Jean-Paul Sartre Experience further develop its sound and push it to a poppier place. And the sweeping melody of the chorus supports that. Largely shot in a derelict pub in central Auckland (that was subsequently demolished to make way for a high rise building), the video uses a constantly moving camera and primary colours to back up the lush sound. By now the band had shortened its name to JPS Experience and added keyboard player Russell Baillie.
This "essay on global warming" was written by Able Tasmans band member Leslie Jonkers. Bagpipes and spinning pomegranates give away to amoeba and swirling shots of trees. The band are shot in colour amongst Christmas decorations, and in black and white in a forest as the song spins and builds. Shots of a Chrysler Valiant give way to footage of a village in Africa, a forest in Asia, the Golden Gate Bridge and Speakers' Corner in London. And why a frog? Because when water is gradually heated, a frog doesn't notice the changing temperature and will be poached.
In this promo for the title track from the Phoenix Foundation's 2010 album a boy practises holding his breath, to better himself for meeting a sea nymph. It's a suitably giddy concept for a song that builds from its simple two-note intro onwards to a surging crescendo. "I'm on the sea floor / I am the mammal you adore / I'm on the sea floor, closer to the planet's core". A submarine South Coast swim and a glide through the pine trees of Wellington's Town Belt later, and our hero is united with his maiden. Directed by Nathan Hickey aka drummer for Beastwars.
Made by off-duty Lord of the Rings crew and directed by James Barr, this video won The Knack Award at the 2001 Flying Fish Music Awards, and was a Handle the Jandal award-winner the same year. Shot in black and white, the clip is visually strong, but contains lots of shots of the band falling from buildings, so don’t watch it if you suffer from vertigo. And please don’t try this at home! Onetime band member Bret McKenzie (Flight of the Conchords) turns up in the final stages, with an emergency bucket.
An eco-anthem lurks at the heart of this infectious, upbeat Minuit number. To accompany it, director Sally Tran conjures up a claustrophobic world where people are trapped inside a decaying building (actually Spookers haunted house at Karaka), and flowers and outdoor pursuits are the stuff of museum displays. Lead vocalist Ruth Carr (complete with bird make-up) and her dancers run this way and that, but there seems to be no escape. The song plays out with Carr singing to herself because she decided no-one else would write a song with her name in it.
The trademark warm, jangling sound of veteran Flying Nun band The Bats masks a Robert Scott lyric about emotional numbness on this song from their debut album Daddy's Highway. Director Jonathan Ogilvie's clip features a chainsaw of Damocles and the ventriloquist's dummy from the album cover — and a poignant Christchurch location. The distinctive, triangular ANZ Bank Chambers (where the band members play on the balconies) and surrounding buildings at the intersection of Manchester, High and Lichfield streets were devastated in the city's earthquakes.
Was there a cooler band in the world than The Clean in 1982? Skinny suits, round sunglasses, video performances aping the great old Monkees' moves but tuned to the "deadpan" setting. Rubbish dump. Derelict building. Cemetery. Check. TVNZ's Andrew Shaw travelled south to Christchurch to direct this one, but he kept the clip faithful to the band's style for this now iconic tribute to indie nihilism.
'One Will Hear the Other’ offers all the trademarks of a Shihad classic — epic guitars, driving drums and a chorus tailor-made for joining in at one of the band’s legendary live shows. Directed by Australian Toby Angwin, and shot in Shihad’s then hometown of Melbourne, the video features performance footage of the group projected on to central city buildings, alongside a narrative implying this is the work of a group of guerilla street artists. The song was the lead single from 2008’s Beautiful Machine album, which debuted at number one on the New Zealand Top 40 chart.