At least 3080 Polaroid photographs appear to have been taken for this piece of animated cleverness, which was created by Kelvin Soh and Simon Oosterdijk from Auckland design company The Wilderness. The clip offers viewers a stuttery cavalcade of beautiful faces, including guest vocalist Anika Moa. The series of scrawled numbers visible below the photos give a viewers an effective lesson in how animation — and filmmaking — is ultimately a series of still images, laid in a row. 'Come Here' comes from Dimmer's second album, You've Got to Hear the Music (2004).
Don McGlashan is renowned for the sense of place in his songs. In 'Bad Blood', the trees along the Shore are turning red and immediately the listener is on the bus on Auckland's North Shore, gazing out the window with him. This video was directed by Aucklander Sally Tran (before she relocated to NYC) and demonstrates her love for textiles and cardboard cut-outs. McGlashan 'appears', but in two dimensions, something repeated in the video for his 2015 track 'Lucky Stars'. 'Bad Blood' reveals a master storyteller at work; the 'stranger' he obsesses about is part of himself.
The Listener described the child-friendly music of Fatcat & Fishface as sounding “like Tom Waits’ toy cupboard.” ‘Happity’ (from album Meanie) is a bogan twist on Cinderella, with an uncoordinated rabbit from Palmerston North — “the fumbliest, stubbliest bunny of all / His feet are too big and his teeth are too small” — feeling dateless before the Manawatu ball. Made with stop motion animation, the video was directed by Derek Sonic Thunders, who gained notoriety for his video ‘Songs About Drinkin’ and Dyin', in which Action Man and Barbie do unmentionable things.
The Listener called the kids music of Fatcat & Fishface “like Tom Waits’ toy cupboard. The perfect antidote to Barney”. This ditty (from 2004’s Pretty Ugly album) came from a collaboration with the Department of Conservation and bypasses the cuddly usual suspects — kiwi etc — to celebrate the unlikely charms of the bat fly. The blind, flightless fly lives symbiotically on the native short-tailed bat: “So what if I like guano … I like it for a snack / There’s nothing like guano … from a bat!” The stop motion animation by Carlos Wedde is suitably Tim Burton-esque.
If the Wool Board rocked, Steriogram’s ‘Walkie Talkie Man’ video would be the result. It uses wool to create people, instruments and tall buildings. A King Kong-like character scales Hollywood’s Capitol tower to kidnap singer Tyson Kennedy: inevitably, this warm fuzzy has to unravel. The ingenious stop-motion animation was made in New York by Frenchman Michel Gondry (director of feature Eternal Sunshine of the Spotless Mind, and notable promos for Radiohead and Beck). The video – and the song’s use in an iPod advert – brought Steriogram worldwide exposure.
The Listener described the children’s music of Fatcat & Fishface as being “like Tom Waits’ toy cupboard”; aptly this dirty ditty’s subject is not typical fairytale fodder. ‘Flyby’ buzzes into the kitchen to honour the humble house fly, where — all together now — “she was … looking for a place to lay her maggots.” The stop motion music video tribute to the fly is animated lovingly by Robin Nathan and Greg Schmetzer. The song is from the album Horrible Songs for Children, which won Best New Artist for Older Children at the 1999 Children's Music Web Awards (USA).
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.