Filmmaking duo Thunderlips certainly make a statement with this audacious clip filled with bright colours and retro gear. Based around fictional sitcom That’s So Randa, the video is a montage of the adventures of Randa and producer Totems, living together in their retro apartment. An incident with a falling stage light takes the video beyond the fourth wall, yet Randa’s non-stop pop culture references keep the video firmly grounded in unreality. Frankenstein was nominated for Best Music Video at the 2013 Vodafone NZ Music Awards.
This performance clip for The Veils is given a distinctive edge using various effects that add a moody, jittery vibe. The overlaid animations — moths trace arcs in the air, shadows move in the background, and the moon and stars make an appearance — add a mood of underworld ethereality, and an echo of the silent movie era. The clip was made by the Brownlee brothers (not the English triathletes). It was nominated for video of the year in the 2007 Juice TV awards. The song is taken from second Veils album Nux Vomica.
As smooth and laid-back as the song, this Josh Frizzell-directed music video takes inspiration from the geometric designs of album covers from 1960s label Blue Note Records. The track is from saxophonist Nathan Haines’ debut Shift Left (then New Zealand’s best-selling jazz album). Here Haines is a precocious 22, bespectacled, with his hair cropped unusually short. Sani Sagala (aka Dei Hamo) turns up to add a rap overlay to the song's ‘acid jazz’ influenced sax grooves. Frizzell also directed videos for Emma Paki (System Virtue) and Urban Disturbance (Static).
The video for the highest selling Kiwi song of both 2016 and 2017 was shot on a mobile phone in Fiji. Featuring beaches, pools, and partying, Don’t Worry Bout It was filmed by Auckland musician Kings while he was in Fiji for a music festival. Kings wanted to create an instrumental track with a summer feel, but added lyrics after watching his daughter run around a park without a care in the world. As of December 2017, 'Don’t Worry Bout It' held the record for the longest number of weeks (33) as the week's biggest-selling Kiwi single; it had been streamed on Spotify over six million times.
With 'Turn from the Rain', The Veils added their name to the prestigious list of bands who have recorded at London's famed Abbey Road Studios — a list which includes The Beatles, Pink Floyd and Radiohead. According to frontman Finn Andrews “The room there is so musty and still … you want any sound you make to be worth disturbing the grand silence for.” The idea of making a video at Abbey Road arrived at 2am in a Hackney flat; the performances were shot on 16mm film, an appropriately retro touch considering the venue. The recordings were later released on The Abbey Road EP.
Che Fu’s influential debut album 2b S.Pacific (1998) melded Pasifika with reggae, soul and hip hop, to create a unique musical home brew. The first single 'Scene III' went to number four on the local charts, and this follow-up (a double A-side, paired with 'Machine Talk') got to the top in October 1998. Cinematographer Duncan Cole (Born to Dance) directs the music video, which sees a pair of Fu personas (street and club?) facing cameras in a film studio, while singing about making "the planet shake". Later Che Fu adds some comedy to a breakdance battle.
NZ's first house record was a one-off studio project for Simon Grigg, Alan Jansson, Dave Bulog and James Pinker. With a nod to UK act MARRS' indie/electro hit 'Pump up the Volume' — and a sample from Indeep's 'Last Night a DJ Saved My Life' — it briefly featured in the UK club charts. The TVNZ-made music video borrows the record's original graphics (by novelist Chad Taylor) and marries them to a mash-up of 1960s black and white, music related archive footage (including C'mon) with the occasional novelty act and politician added for good measure.
After ten years performing together, Ardijah released their debut album Take a Chance to platinum sales and a 1988 NZ Music Award for Most Promising Group. One of three Top 10 hits off the album, 'Time Makes a Wine' is punctuated by clever light direction and a bright colour palette. All the way through silhouettes, smoke and an upright bass add to the video’s visual appeal. A few questionable hairstyles aside however, it’s the bright animation, reminiscent of A-ha’s classic Take On Me video (and only a couple of years after), that proves the most eye-catching.
This music video continued the fruitful collaboration between The Naked and Famous and directing duo Special Problems. Joel Kefali and Campbell Hooper brought their trademark mix of graphic design, film and painting to the synth-driven pop song. As vocalist Alisa Xayalith moves through a dreamscape, she sleepwalks, runs, skates and flies through pine forest, snow, sand, and a manor. Ice hockey masks and hoodies add menace. It won Best Music Video at the 2011 NZ Music Awards, part of a major awards haul for the group. The song has featured on a number of TV shows.
From the time-honoured music video making tradition of "throw a party, add a horse costume and film the results" comes a frenetic clip directed by Andrew Moore. Love's Ugly Children were at their belligerent best on this song from their second album. Drummer Jason Young was the waylaid missionary; and guitarist Simon McLaren got to talk to a horse on the phone and display hitherto-unseen break-dancing skills. The carpet of their flat came off second best in an encounter with some red body paint. Extra marks for the cheese and pineapple hedgehog.