‘Deb’s Night Out’ was a single from Shihad’s breakout second album Killjoy (1995). Director Chris Mauger’s video bypasses a literal take on the lyrics’ relationship paranoia for a deadpan depiction of cross-generational spirit. A young, sullen Jon Toogood is stuck in his denim jacket in the backseat with a couple of wine-guzzling oldies, en route to a suburban hall shin-dig. There the band gets down for some country and limbo dancing, the family-fun visuals contrasting with the song’s grinding guitar. Mauger’s stylistic touches include a canapé-cam.
Director Chris Graham delivers five minutes of cars, comedy and eye candy in this slick who's who of the 2003 Kiwi scene. Featuring DJ Sir-Vere, VJ Jane Yee, ex sports star Matthew Ridge and Paul Holmes (well actually he was a no show — but his understudy made an appearance), the clip succeeded in planting a relatively unknown hip hop artist squarely on the front page. The result was the biggest selling Kiwi single of the year (it went platinum, and spent five weeks at number one). Named Best Video at the 2005 NZ Music Awards, it cost at least $50,000 to make.
The playful ‘Elephunk in my Soup’ was the result of experimentation by Phil Bowering and Steve Garden during spare studio time. The video was directed by artist William Keddell (now based in Florida) while Chris Barrett was responsible for the cinematography and the Len Lye-influenced animations (some scratched directly onto 16mm film in Lye’s style). Made in the days before a local music video industry had really established itself, it was a finalist in the NZ Music Awards. Phil Bowering is on the couch and, of course, he’s got his wash-hose.
Chris Knox mines his immediate, 1981-era surroundings for this elaborate stop-motion clip. Record players go crazy, sleeping bags swallow people, and hardly anyone on screen seems to have a face. On the telly are Springboks and protests, plus the Ready to Roll top 20 countdown. And all this unravels a full two decades before editing programme Final Cut Pro made homespun hip again, and directors like Michel Gondry (The Science of Sleep) started popularising the craft aesthetic.
The promo for F.R.E.S.H. ("Forever Rhyming Eternally Saving Hip hop") is set 'Somewhere in Canterbury' and sets off a breakneck clip: around 100 cuts in the first 60 seconds. The costuming, set changes and colour palette are dynamic; the nods to Scribe’s mainland hometown are many. How many times do you hear the director namechecked in a song? Not many. Chris Graham's sense of pace, timing and cheeky lightheartedness — there's even a coconuts-as-horse-hooves rhythm section — propel the hip hop crusader and his horsemen into the stratosphere.
With a total budget of $150 and some favours, this miniature space odyssey — winner of the Viewer's Choice award at 2002's Handle the Jandal contest— packs a supernova sized punch. With slick miniature work (skills honed on the sets of The Lord of the Rings and King Kong), director Olly Coleman achieves a tranquili mood that is in perfect harmony with the track. The Rhian Sheehan track features vocals by Lotus Hartley.
Being one of Tall Dwarfs’ more experimental tracks, it probably makes sense that the accompanying video would be as perplexing. Chris Knox shows his penchant for bizarre DIY animation as line drawings of creatures morph into lines of lyrics, then into human figures who keep losing their heads. The song itself does little to provide any easy answers, the minimal vocals rumbling out of a swamp of muddy riffs. Both 'Disease Day' songs appeared on 1984 EP Slugbucket Hairybreath Monster, which website All Music called "another chillingly perfect gem".
Salmonella Dub’s roots, dub, and drum’n’bass cocktail is shaken up on this single from their fifth album One Drop East. John Chrisstoffels’ energetic video won Juice TV’s Best R’n’b/Urban award in 2003. It borders on the claustrophobic as the camera gets right in amongst the band and an enthusiastic audience (swathed in appropriately rasta red, gold and green lighting). An apple-munching brass section might be a first but it’s megaphone-wielding singer Tiki Taane who is the centre of attention as he toasts up a storm.
Chris Knox wears a Madonna head-set mic and John Lennon sunglasses, with a t-shirt and bright yellow shorts, as he walks along Auckland's Ponsonby Rd singing and playing guitar. In background inserts Knox himself plays a mad air-guitar-playing chorus and censor. Very simple, but full of cheek and characteristic CK energy.
Gluey Gluey is an ode to snot and other gross bodily functions - and the clip illustrates this theme with disgusting relish. Like a Roald Dahl story imagined with song: giant nose-picking shots, snot eating, underpants itching, and more. Not for hygiene freaks or the generally faint-hearted.