Shot by Jesse Taylor Smith on 16mm on an antique Russian Krasnogorsk camera, Loose Change features a succession of movies within movies until it seems that everyone and everything could be on a set (apart, perhaps, from the photographer in the pig's head). Piano and glockenspiel build, crash and ebb as a model helicopter fights a fire in a building (life nearly imitated art when the stovetop pyrotechnics got out of hand); and, at the meta-end, the couple watching the "Stay Indoors" message on the TV are themselves revealed to be outside on a footpath.
Shot in and around Auckland, Karyn Hay's gorgeously colourful clip follows two love birds and their associated entourage - a female body builder, a Ken doll and a punk. Although not officially in the band, Andrew Fagan appears twice in the video, once as a hooded mugger, and again as the drummer, identity concealed with a paper bag. "One of my favourite scenes is the red lipstick on the kissing booth." Karyn Hay, May 09
"I'm gonna build a room that echoes, around and around and around with its own sound." Peking Man's career peaked in 1985 with 'Room That Echoes', a number one hit that saw the band dominate the 1986 music awards. Directed by John Day, the surrealistic video features animated computer graphics of the afore-mentioned room, slowly building wall by wall and tracking against a background of stars. Margaret Urlich is the only band member present, appearing as a lone silhouetted figure dancing across a checkerboard floor.
The band has its origins in Christchurch, but this video takes their trademark sonic guitar to the subways and streets of their adopted home of New York. Shot in 1996 it feels more emblematic of the recession era as a robotic businessman crawls on its belly towards redundancy on Wall St. It's a striking key image as he/its battery runs down in front of the Stock Exchange Building amongst oblivious pedestrians. Liberty: Bailterspace style.
Early standard bearers for the Flying Nun label, The Clean ended their first incarnation with this abrasive, rollicking, darkly-humoured take on the aging process (featuring backing vocals from Chris Knox and some Robert Scott trumpet). Ronnie van Hout, who designed much of the label's early artwork, turned his hand at directing for this clip. Without a budget, he utilised the Christchurch service lanes and aging inner city buildings which housed so many of the local music industry's bars, clubs and rehearsal rooms (and a succession of early Flying Nun offices).
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.
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.
The Crocodiles were on tour supporting their second album, Looking at Ourselves, when this video was shot in Dunedin. Though he’d left the touring unit, Fane Flaws still provided material and was co-writer of ‘Telephone Lover’. Dunedin’s old Bing Harris Sargood building provides the backdrop for most of the video, while the ‘live’ sections were shot at the now-defunct Shoreline Tavern. Dunedin cameraman Peter Janes directed and filmed the segment for regional news programme The South Tonight.
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.
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.