This 1993 award-winner was the first Crowded House video made in New Zealand. Director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly Kiwi imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects that were added in post-production.

After kicking off with the opening bars of Chopin's 'Funeral March', this live rendition of 'Death Rehearsal' invites the audience into a cartoonish, Halloween world before Toy Love members Alec Bathgate, Paul Kean, Jane Walker and Chris Knox take their foot off the brake and let rip. Music journalist Graham Reid described this song (taken from their self-titled first album) as 'kitsch-gloom' and an example of the band branching out from straight ahead punk. Knox juggles delivering witty lyrics with finishing his ciggie, while Bathgate burns up his guitar.

One can imagine the concept for Davis' hysterically violent clip looking rather average on paper. "Band beats snot out of each other". But the mastermind behind some of NZ's most outstanding moving images knew what he wanted - and went ahead and NAILED it. (Check out his intriguing "making of" appended to this clip.)   "The original footage was shot freeform then retimed with Twixtor [effects software], to time with the music. In fact the clip stars on the RE:VISION FX website, to show off the capabilities of Twixtor" Ed Davis March 09   

Taken from hit music show C’mon, this short clip has Mr Lee Grant performing his first number one hit ‘Opportunity’. After leaping to attention — and suffering an awkward landing — he recovers quickly to offer a jaunty performance on a psychedelic set, complete with American flag motif. The song (a cover version) charted in May 1967, helping cement Mr Lee Grant’s position as one of the country's premier pop stars. He would top the local charts twice more — and come close another time — before leaving New Zealand in March 1968, in an attempt to conquer the United Kingdom. 

Winner of Video of the Year 2006 at the Juice TV Awards, the clip was shot over two and a half days, and required dancers attached to elastic strings to move at half speed to achieve the puppet effect.Self confessed dance fanatic Kezia Barnett literally searched the world for the hero marionette doll. "I looked in Paris, Amsterdam, London, Berlin, Auckland and Prague. I eventually bought one in Prague. We changed her hair, face, skin and clothes to match Sarah's."Kezia Barnett, March 09

The video for BRF's second single contrasts images of youths in gas masks with This is New Zealand-style panoramic scenery. The song ominously describes a complacent society ignoring apocalyptic possibilities: it could be the theme song to The Quiet Earth. But like BRF's UK contemporaries the Cure and Joy Division, behind the brooding, melancholic music is a pop song with deceptive hooklines. The haunting melody emerges slowly from a funereal marching beat, while the chorus is almost ecstatic, with phased synthesised strings that seem to take flight.

In September 1985 Satellite Spies released 'Destiny In Motion', their first single. It made waves in the NZ charts, peaking at number 14 and spending 10 weeks in the top 50. The corresponding video is stylishly minimalist. Lead singer Mark Loveys and guitarist Deane Sutherland wander darkened back alleys in the rain, and encounter a mysterious blue triangle. The song proved a good launchpad: in March of 1986 Satellite Spies found themselves opening for Dire Straits when the group arrived in New Zealand. After that, Loveys and Sutherland were destined to move in different orbits.

The darkly arresting imagery of this Fanatics video — featuring leather clad models marching in robotic unison — was almost not to be, according to director Mark Albiston. "The band said 'do what you want — but no models'. I said 'what if we put them in jars'? They said...'mmmm... ok'." This swift negotiation lead to an industrial setting (the generator room under Wellington Hospital), with an army of models being baptised, energised and commercialised. The song was later used as the opening theme for New Zealand's Next Top Model.

Illustrator/director Leah Morgan's beautifully crafted clip cleverly captures both angst and beauty through captivating special effects and a stunning palette.   "We shot against a green screen, with the band members positioned on a lazy Susan. The thing that killed me was a low angle shot where I was spinning and looking down: I turned pretty green (which must have been problematic in post)." Mathew Bosher, March 09

With her second ever video, director Kezia Barnett established herself as a major industry talent. Buck It Up won Best Group Video at the Juice TV Awards 2004.   "I went to art school with Rodney. At one school ball he was the Queen of the Ball and I was the King! The video idea was influenced by my brush with death and hospital stay earlier that year. Needless to say I was delirious and had visions. You can see the band pop up throughout the video - especially Rodney." Kezia Barnett - March 09