The shoot required a diverse crowd of coasters (Hibiscus Coast) in order to portray the feeling of unity and multicultural inclusiveness the band were after. "The idea of us playing in a community hall was to give it that inclusive feel, rather than a clichêd scrappy street punk vibe. We wanted our audience to know that we're more than that. At one stage I had to hold up a big sheet with lyrics on it, pointing out the words for the crowd as we went along."Chaz from The Rabble - Feb 09
Herbs visited the troubled East Coast town of Ruatoria in 1987, bringing music and aroha. They left with a documentary and this music video, which shows the band meeting and performing for the locals. Both The Power of Music and the music video were co-directed by Lee Tamahori (Once Were Warriors ) — in one of his earliest turns as director —and cinematographer John Day (Room that Echoes). The ode to love and harmony was judged Best Music Video at the 1987 New Zealand Music Awards.
This 1993 award-winner was the first Crowded House video made in New Zealand. Director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly Kiwi imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects that were added in post-production.
From Shihad’s first album Churn, the video for 'Derail' is a dark and unsettling affair, recasting everyday Kiwi pursuits in a tense, almost disturbing manner. It’s directed by ex-Supergroover Joe Fisher (now known as Joe Lonie), who marries their dissonant riffs and twisted time signatures to black and white footage of horse racing and punters at the track. Added to the kiwiana gothic mix is some serious looking gumboot tossing, churches and religious imagery: cows and power pylons, golf, bumper boats, roller coasters and dodgems.
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.
Singer/songwriter Sharon O’Neill did Los Angeles inspired, mid-70s pop/rock as well as many of her contemporaries in California — but it’s hard to imagine opening lines as striking as these ones coming from that West Coast. ‘Words’ was the first single from her self titled, second long player which won her Album of the Year and Best Female Vocalist at the 1980 NZ Awards. After years behind the keyboards, O’Neill shines in this video filmed in front of an audience with a band that includes Simon Morris, Wayne Mason and future Mutton Bird Ross Burge.
Mark Trethewey’s video for Shapeshifter’s anthemic ‘Electric Dreams’ follows the band as they make their way by bus down the East Coast of the North Island to a typically storming performance at Rhythm and Vines in Gisborne. Along the way, there’s time for summertime staples like beach cricket and fishing off the jetty at Tolaga Bay. These quiet, largely empty spaces provide a marked contrast to the mayhem of the sold out festival. It’s a journey that echoes the summer holiday car trips that are a rite of many an Aotearoa childhood.
Shot on Wellington's South Coast, the video stars Academy Award-nominee Taika Waititi (who also directs) as a turquoise headband wearing jogger attempting an eclectic confidence course. Shot in one ducks-in-a-row long take, our hero slays knights, frees prisoners and crosses the finish line into the arms of his lover. And a horse. A splendid example of she'll-be-rightism, the clip is refreshingly lo-fi, makeshift and delightful — and undoubtedly took a lot more than four minutes and 15 seconds to make.
This jaunty debut single from Wellington reggae band Southside of Bombay is as deceptive as the happy family sing-a-long it accompanied in Once Were Warriors (which turned it into a belated chart hit). Far from being a nursery rhyme, its lyrics are informed by composer and vocalist Ruia Aperahama’s Ratana religion and a belief in the clock ticking towards an end time. Cinematographer Richard Bluck’s Wellington-filmed video captures the band performing (aptly there's sax on the south coast), cut with archive footage of Aotearoa activism ... as Mr Wolf watches on.