The video was directed by Mark Williams (aka MC Slave) and the concept was born over yum cha sessions with the band. In the clip the Fat Freddy's crew are abducted by mad scientist and former child prodigy musician Boondigga (Taungaroa Emile). Taunted by FFD's soul sounds, he conducts a lab experiment to extract the music from their brains.
Set in a Grey Lynn fish'n'chip shop, this clip delivers a killer kai moana concept, when it's revealed that the greasy takeaway is merely a front for the club downstairs. Winner of Best Music Video at the 2006 Vodafone NZ Music Awards, the video features a host of cameos in addition to the members of Fat Freddy's Drop: including Danielle Cormack, Ladi6, John Campbell and Carol Hirschfeld. It was directed by Mark 'Slave' Williams, sometime MC for the band. The track was part of Fat Freddy's first studio album Based on a True Story, one of the biggest-selling in Kiwi history.
To cast the many faces in this video, director Greg Page put up an advertisement in an Asian food hall. The clip combines band PanAm rock and rolling in a warehouse, with shots of various Asian women larking around in a photo booth, and leaving (subtitled) messages for the band. Director and musician Greg Page has gone on to direct dozens more music videos (including clips for The Datsuns and Elemeno P), animated shorts, and 2003 horror movie The Locals.
The second single from singer-songwriter Bic Runga's multi-platinum debut album Drive is a spare but insistent plea for emotional warmth. The video finds Runga elegantly coiffeured and styled in a white gown with a black guitar. The video is drenched in pale blues and bleached whites, and water surrounds her in a myriad of forms — dripping, pooled, condensed. But there’s the promise of sunlight and succour as well. Co-director Melanie Bridge (working here with photographer Mark Lever) would later help found multinational commercials company The Sweet Shop.
'Circus Kids' was the second single from Bike’s sole long-play record Take In The Sun. It is a prime example of the layered, classically-inspired arrangements and pop songcraft that frontman Andrew Brough had touched on in his previous band Straitjacket Fits. In this swirling, elegantly-gothic promo video, an innocent young boy goes a-wandering, and discovers the seedy underbelly of circus life — all rendered in lush black and white by director Jonathan King, and veteran cinematographer Neil Cervin.
On ‘Chrysalis’ Wellington producer Benny Tones creates a warm, electronic blend of hip-hop and funk (and 80s video game sound effects) for co-writer Sacha Vee’s soulful vocals. Director Jessica Sanderson (granddaughter of actor Martyn Sanderson) opens her video with Benny walking through darkened inner city Wellington streets. The third busker that he passes morphs into and out of a resplendent, glittering Sacha Vee (and the Legacy Dance Crew) in a hyper-real world which celebrates the creativity of street performers too often ignored by passersby.
Shot near Anawhata Beach, west of Auckland, this clip from award-winning music video director Sam Peacocke (Manurewa, Shihad - Beautiful Machine) offers shades of classic Vincent Ward film Vigil, thanks to its images of moody rural landscapes, and kids watching bleak relationships go bad. Blindspott perform the track against foreboding macrocarpas which have a life of their own. The clip was judged Best Rock Video in the 2007 Vodafone Juice TV Awards.
Problems marks the beginning of a fruitful collaboration between Salmonella Dub and director/animator Steve Scott (working here with co-director James Littlemore). The video features a lone wanderer stuck in a scorched earth desert. The briefcase of money he carries is useless in such a place, and despite stumbling across a detention centre and signs of civilisation (in the form of dystopian power plants and pylons) our wanderer keeps on his aimless lumber. Not even a trusty fake moustache gag can glean a laugh or stop him in his tracks. If only it were to rain...
The first single from Goldenhorse's second album is an insistent lover's plea that marries Kirsten Morrell's vocal dexterity to a driving tempo. In the music video for the Auckland folky rockers director Adam Jones disdains the big wide shot for disembodied images and details of the musicians performing. A vibrant Morrell, resplendent in red (rather than the lyric's lady in white) captures the centre of attention, with her band mates providing a textured background — and workout for the focus puller.
This was created as part of the 2010 creative collaborations edition of the Orcon Great Blend. The fanciful clip is a suitable match for the moody minimalism of the track. Planned and shot in a day it achieves an eerily cohesive finish, belying the fact director Jesse Taylor Smith hadn’t heard the song prior to filming, and Gilmour was in the dark as to shooting plans. The ‘actors’ were crowd-sourced and harassed into hair and make-up; from there the footage was developed, the song was 'properly' recorded and all the pieces thrown into place – UFOs included.