Guy Tichborne's intricate clip is packed full of subtlety and detail (check out the name of the airline), weaving striking animation with moody real life studio footage and the glamour of 1950s air travel. Constantly rewarded with eye candy, the viewer is drawn in as each elaborately layered scene unfolds.
Publicly screened only a handful of times, AFFCO hasn't met with universal approval. Yet for many, this Stuart Page bombshell is the pièce de résistance of NZ music video art. "It's been written that it was 'animal rights' inspired, which is incorrect. The song was written purely about some guys who 'pack meat' and the video was made in that light. I guess we got carried away wrapping David d'Ath in glad wrap, baby oil and food colouring in an upstairs room at my Freeman's Bay flat." Stuart Page CAUTION: This video contains images which may offend some viewers.
This was the song that started it all for The Exponents. Instead of the usual TVNZ studio cheapie, the promo is a film clip, complete with fantasy 80s Christchurch night-life scenes. The song was inspired by Jordan Luck's onetime landlord, who was trapped in an abusive relationship. Locations include the Arts Centre and deco apartments opposite. Reaching number six, the song would prove to be the biggest hit on a debut studio album packed with classics. Luck later described it as "a strange song to pick as a first single"; but the right one.
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.
Taika Waititi's 80s extravaganza wouldn't have been complete without the man himself arriving on set in a DeLorean — the time-travelling car from Back to the Future. The clip for The Phoenix Foundation is another homage-packed example of lo-fi genius from the Oscar nominated director. Note how Eastern European-derived keyboardist Luke Buda is playing a 'Poland' synthesizer. Said Waititi: "I spotted the DeLorean parked near our flat in Mt Cook, and left a note under the wiper saying 'what year are you from?' Turns it was one of two owned by a local doctor."
Life imitated art when Matt Heath and Chris Stapp transformed their Back of the Y house band into a real act. Here they make a determined bid to wrest the drinking anthem crown away from Th’Dudes’ Bliss with their own ode to the amber liquid. Heath and Stapp’s video takes the tribute to the six pack from pained conception through live performance to post gig acoustic sing-along by way of a hail of beer cans. It’s also a chance to revisit tried and true Back of the Y favourites: from flaming helmets and wrestling masks to dodgy stunts and pyrotechnics.
The band plays a hypnotic groove in a room washed with red and then blue light as a woman with an expression of grim foreboding walks down a beach carrying two bags, towards a scarecrow with a mannequin’s face standing in the sand. Vertical scratches mark the film of the band’s performance, as the woman unpacks the contents of her bags and turns the area beneath the scarecrow into a shrine which she kneels before. But then, as the band briefly breaks free of its groove, she circles the scarecrow, wrestles with it and drags it towards the sea.
'Sierra Leone' was one of those songs that quickly stood out from the pack. Andrew McLennan's synth-pop track won his new band Coconut Rough a deal with Mushroom Records, then became a runaway hit in 1983. The video, slick for the time, features bright colours, a running motif, and African imagery. But the pressure of being in demand for a single song became an albatross around the band's neck. As McLennan told website AudioCulture, "‘Sierra Leone’ became the only song from our repertoire that people wanted to hear and no matter what we did we couldn’t follow it up."
When photographer John Lake offered to collaborate with Wellington band MarineVille, the song he chose was ‘Time’: a meditation on the relentless ways that time plays out in our lives taken from their third album Fowl Swoop. The resulting video, shot around the suburb of Newtown over three hours, stars drummer Greg Cairns desperately attempting to flee the inevitable march of time — only to get his comeuppance from the grim reaper, a room full of people he offended along the way (“Vitutaa” is Finnish for “We are annoyed”) and a catering pack of cream.
The Neighbours were formed when Wellingtonian Rick Bryant packed his saxophone and headed north to jam with Sam Ford-led Ponsonby outfit Local Heroes. The band toured their sweaty soul sound extensively from their Gluepot Tavern base. ‘The Only One You Need’ was from the 1982 EP of the same name. Directed by Gaylene Preston, the Keystone Cops-style video has Bryant (somewhat slyly) playing a police constable under the spell of vocalist Trudi Green; Green foils Bryant’s bar raid and his efforts to guard a Greymouth bank. Bryant later formed the Jive Bombers.