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.
This Able Tasmans single starts with a piano intro from Graeme Humphreys (aka Graeme Hill ) — the so-called baroque popsters really loved their keyboards. The clip goes on to showcase the instrumental prowess of a band who weren't afraid to throw horns, bagpipes, and strings into the mix. The first vocal doesn't arrive until almost two minutes in! Director Phillipa Anderton captures the energy of the playing by weaving the camera above and around the musicians. The clip's use of colour is also distinctive: most obviously in a set which is revealed to be yellow and deep blue.
Made for the Rio 2016 Paralympic Games, this video mixes Kiwi landscapes with images of disabled athletes and performers, showing what they are capable of. The song’s lead vocalists, Natalie Te Paa and Cam Dawson, are both blind. Helping out behind the scenes are Callum Martin (The Checks), Leza Corban (Strawpeople) and ex-Split Enz members Eddie Rayner and Mike Chunn. As well as being an unofficial anthem for the Rio Olympics, the song aims to raise awareness of the 25% of New Zealanders who live with some form of disability.
This Neil Finn number finally turned Split Enz into chart-toppers in Australasia, and gave them an entree to the vital North American market. It was graced with Noel Crombie's most ambitious video to date and became an MTV favourite. Curtains on the outside? Just one of the many innovative design elements in a clip, which explored Neil's inner torment as he withered under the scrutiny of giant eyes, an Orwellian flat screen television, and his creative paranoia at being shunned by the rest of the band — unable to infiltrate the clique. Heavy stuff!
This video certainly has an out of the box concept: cameras follow the band as they spend a day at races, gambling the money given to them by NZ On Air to make their music video. The hope is that they they will win big and be able to afford an even better clip. Cue the finale, where the band don silly costumes and let loose with a bunch of fireworks. I'm Lame was nominated for a b-net Award, and came second at the Night Vision Film Competition in Dunedin. The song appeared on both EP PEP Sounds and The Sneaks' 2007 self-titled album.
This classic video takes a band, then throws them in the back of a moving vehicle as they try to play their song without falling over. Greg Page, a music video veteran ('Verona', 'Stop the Music'), remembers that "the concept was enormous, but sadly unrealised. But what we ended up with was a piece of magic I've never quite been able to reproduce." He talks about making this and another D4 video in a single weekend, here.
The concept for this 2003 video sees the Nesian boys preparing for a party while snapping and sharing (probably then-expensive) 'pixt' photos of each other and the Mystik people in their lives. The perils of public snoozing in the mobile age are shown. As music video aficionado Robyn Gallagher has noted elsewhere, this snap happy, pre-smartphone video nearly anticipates that in the future, "an entire music video will be able to be shot on a phone camera." 'For the People' was a Top 10 single from Nesian Mystik’s hit album Polysaturated.
In the best traditions of the Beatles, U2 and Head Like a Hole, Die! Die! Die! takes to a rooftop in New York for this video made by London-based director and editor Rohan Thomas. They sing of an urban nightmare of burning roads and bridges, places to avoid and not being able to return home – but the song's title takes full responsibility. The clip was the result of a guerilla shoot with a generator in 2009 that had them moved on from a series of prospective locations until they happened on an unguarded rooftop – to the surprise of nearby office workers.
For this stylishly shot video, the ghosts of Goodnight Nurse rise from their coffins to perform a song about obsession, and dancing with the Devil. Reflecting the band's own obsession with horror imagery, the setting is a moon-lit hillside, surrounded by gravestones. The video won Best Rock Video at the 2005 Juice TV Awards, and was a finalist for Video of the Year. After the group's passing, each player stayed involved in music; lead vocalist Joel Little would rise up again to co-write Lorde's Grammy award-winning hit Royals. Director Jonathan Gerrard remembers making the video here.