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.
Upper Hutt Posse were the first group to release a hip hop record in New Zealand, with their politically charged breakthrough 1988 single 'E Tu'. On this single from 1992, they make something of a return to their reggae roots. By now the group had expanded from the original four-piece, and included Teremoana Rapley — also part of Moana and the Moahunters — on additional vocals. The song would later appear on the soundtrack of Once Were Warriors, with Posse members Dean and Matt Hapeta (aka D-Word and MC Wiya) making cameo appearances in the film.
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.
A killer concept and clever production make for a very impressive clip by Sam Handley, who admits marrying film and music give him "great pleasure". In a scenario reminiscent of early [Taika Cohen and Jemaine Clement comedy show] Humourbeasts, Handley leaves the creative duties to two bespectacled buffoons who manipulate a live image on the band's backdrop. The fun really starts when the camera-buffoon finds the door...
The set has a back-drop curtain made out of milk bottle top foil; the band are wearing plastic rubbish sacks fashioned into tunics, and have painted faces. The props include a disco mirror ball, a toilet seat sculpture, a giant bug, and umbrellas. It's all slightly off-beam, but the band's performance is deadpan sweet. There’s the requisite Flying Nun film scratching, and some literal-but-amusing image and lyric matching. It all combines to make a DIY delight, an effortless two decades before Flight of the Conchords or Mighty Boosh.
Director Chris Graham toys with black and white in this performance-based clip, which accompanies possibly New Zealand's best-known remix. Graham shoots Scribe and company in colour, but apart from skin tones makes every ‘colour’ used either black or white: including the hoodies, caps, milk bottles ... and the dog. Film speed is tweaked to the beat, and the result is monochrome magic. Scribe is joined by a crusading crew of Kiwi hip hop luminaries (Savage, P-Money, David Dallas/Con Psy). 'Not Many' originally topped the charts as half of a double A-side, alongside 'Stand Up'.
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.
'Lyin' in the Sand' closed Hello Sailor's self-titled debut album in 1977, the song's languid South Seas vibe providing respite after 'Gutter Black' and various guitars. Inspired by a spontaneous South Pacific parody from vocalist Graham Brazier one night, it was written by guitarist Harry Lyon after observing how Takapuna's smart set took their beach for granted. TVNZ filmed the band playing live in a Christchurch studio in 1978, just before the band set off to try to make it in LA. Lyon sings, so Brazier is absent; drummer Ricky Ball's hula confirms that the band’s tongue was in its chic.
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.
‘Deciphering Me’, the first single from from Brooke Fraser’s second album Albertine, is a song about two people dealing with issues of vulnerability and trust. For this Juice TV award winning video, director Anthony Rose borrows from another work about a couple making a connection: Sofia Coppola’s Lost in Translation. Fraser walks through the neon landscape of Tokyo’s Shibuya shopping district (which features prominently in that film) and, on a sparkling rain-washed night, she shelters, like Scarlett Johansson, under a clear plastic umbrella.