Frequent collaborators singer Anika Moa and director Justin Pemberton crossed paths again for the music video of this track, from Moa's 2008 album In Swings the Tide — her first, slightly countrified album for EMI. In a tastefully furnished room, Moa wakes in a bed of chocolate satin sheets, only to find the day is nearly done for her and the mysterious bedmate sleeping next to her. Moa exhorts her lover, “please don't be mean to me 'cos I really tried ...”, before stripping the duvet off the relationship to see what's underneath.
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.
"I always wanted to make videos that turn sound into form". So says musician Nigel Stanford about the video for this track, from 2014 album Solar Echoes. In the Shahir Daud-directed video, science meets art and music meets image, as sound waves create an array of visual patterns in water, fire and sand. The mad professors’ physics class employs the Tesla Coil, Chladni Plate and Ruben’s Tube to vivid effect. It took two days to shoot, eight months to complete, won Best Music Video at the 2015 Vodafone NZ Music Awards, and has been watched over 14 million times on YouTube.
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.
The lyrics to this Jan Hellriegel single unveil a strange and cryptic vision of a woman who has gone very high, and possibly lost her mind en route. Kerry Brown's video takes a similiar path. Shot largely in Auckland's St Kevin's Arcade, it begins like many other music videos, although a couple of passersby appear to have wandered into the wrong scene. Then halfway through everyone transforms, and the clip bursts into a vision of fire, red lipstick, feather boas and circus performers. 'Geraldine' was the first single off Hellriegel's second album, the Australian-recorded Tremble.
"Samoa mo Samoa!" — King Kapisi blends his Samoan roots with hip hop culture in this video shot on Samoa's ring roads. The hip hop music video standby of the drive-by gets revised Pasifika-style, and the fire poi, papase'ea sliding rocks, lavalava, coconuts, and colourful Apia buses make this clip staunchly fa'a Samoa.
Blam Blam Blam’s second hit from 1981 was angular and artsy, hook-filled but unsettling: all qualities captured in a theatrical video, directed by Andrew Shaw. Clowns, magicians, fire-eaters and trick cyclists join the band, while actors play out the saga of ‘Don’t Fight It, Marsha’. The actors — including Phillip Gordon (Came a Hot Friday), Michael Hurst and Donogh Rees (Constance) — were directed by Harry Sinclair, who would later join Blam band member Don McGlashan in The Front Lawn. The Len Lye-style scratch effects were by Jenny Pullar, the Blams’ lighting designer.
Credited to a band with the shortened name The JPS Experience (possibly at the request of Jean Paul Sartre’s estate), the ‘Breathe’ EP prefigured the Christchurch band’s third album — their swansong — and yielded their highest chart placing. Produced by Strawpeople’s Mark Tierney, and hailed by US alternative music bible Trouser Press as “glamorous ennui”, it defines the majestic, woozy pop that was increasingly becoming their forte. Director Matt Palmer’s video never strays from the band — with fluid camerawork framing them in fire, ice and shimmering reflections.