With 'Turn from the Rain', The Veils added their name to the prestigious list of bands who have recorded at London's famed Abbey Road Studios — a list which includes The Beatles, Pink Floyd and Radiohead. According to frontman Finn Andrews “The room there is so musty and still … you want any sound you make to be worth disturbing the grand silence for.” The idea of making a video at Abbey Road arrived at 2am in a Hackney flat; the performances were shot on 16mm film, an appropriately retro touch considering the venue. The recordings were later released on The Abbey Road EP.
Sally Tran's characteristic attention to detail, a kooky concept and delightful fairytale flavour shrewdly enrich the artist's track, while conscientiously keeping the entire production largely recyclable. "There are four different sets in the video and we moved from one to the other in quick succession, shooting the whole thing in a few hours. Everything you see in the video is made of cardboard. Even the instruments (and our bow-ties!). The drums were particularly impressive." Matt Pender - Feb 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.
Chris Knox's grungy collage-style clip suits this mournful song perfectly. The sequence offering multifarious images of what “turning brown” might mean — from a deep tan to race-swapping — is a particular delight. The shot of Knox's daughter Leisha as a toddler, with the scratched in message "there is always hope" gives the clip a surprisingly poignant ending. In his ScreenTalk interview for NZ On Screen, Knox recalled it was a technical problem that led to him scratching directly onto the film, in the style of his hero Len Lye.
This song is taken from the only new album released in the 1990s by Kiwi music legends Hello Sailor. In an AudioCulture profile of the band, writer Murray Cammick praised the Dave McArtney-penned track as one of two strong additions to the Hello Sailor canon (alongside song 'New Tattoo', also from 1994). The music video features the band playing (on a Ponsonby street, in a derelict building) intercut with archive clips (famous sporting moments, returned servicemen, Edmund Hillary, hikoi, the Beatles tour), echoing the song’s lyrical themes of waning memories and nostalgia.
One of the most commercially successful NZ acts of the 80s, all female vocal group When the Cat's Away reformed in 2001 around four of the original five members: Margaret Urlich, Kim Willoughby, Debbie Harwood and Annie Crummer. They announced their return with this electropop reworking of Sharon O'Neill's 1980 ode to the east — and a Rachel Churchward styled music video which used black outfits on a black background to give an Oriental lacquer-like sheen. O'Neill returned the favour when she played with the Cats on a subsequent tour and live album.
This Neil Finn number finally turned Split Enz into chart-toppers in Australasia, and gave them an entree to the vital North American market. It was graced with Noel Crombie's most ambitious video to date and became an MTV favourite. Curtains on the outside? Just one of the many innovative design elements in a clip, which explored Neil's inner torment as he withered under the scrutiny of giant eyes, an Orwellian flat screen television, and his creative paranoia at being shunned by the rest of the band — unable to infiltrate the clique. Heavy stuff!
In 1968 John Rowles scored a top three hit in the UK. Late that year he returned to New Zealand to a rapturous welcome. A fly-on-the-wall documentary was made about his homecoming tour, from which this clip of Rowles performing ‘M’Lady’ is taken. On the tour he launched 'M’Lady' as his next NZ single; he tells an Auckland DJ that it's his best "uptempo" song yet, and the tune scores scenes of Rowles galavanting around a playground with a cigar, pretending to drive a tractor, and licking an ice cream on the beach. 'M’Lady' went on to top the Kiwi charts.
The career of TV infomercial queen Suzanne Paul took an unlikely turn in 1994 when she reinvented herself as a dance music diva (although the steps in question seem to be more inspired by line dancing). Paul told Metro magazine she did it to demonstrate she was more than "the intense over the top woman who sold things on television". Audio samples of her TV sales pitches — "1000s of luminous spheres" — blend in surprisingly well with Pitch Black member Paddy Free’s music (Boh Runga contributes vocals). The video was shot at the Staircase Nightclub on K Road.
Herbs visited the troubled East Coast town of Ruatoria in 1987, bringing music and aroha. They left with a documentary and this music video, which shows the band meeting and performing for the locals. Both The Power of Music and the music video were co-directed by Lee Tamahori (Once Were Warriors ) — in one of his earliest turns as director —and cinematographer John Day (Room that Echoes). The ode to love and harmony was judged Best Music Video at the 1987 New Zealand Music Awards.