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
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.
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.
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.
Filmed at 2008 music jamboree Camp A Low Hum, this music video features various camp attendees dancing and singing while listening to the song on headphones. It's an infectious clip for an exuberant track, capturing the BYO DIY vibe that made the indie festival's name. 'This House Can Fit Us All' was taken from Little Pictures' only album, Owl + Owl (2008). Indie blog Bigstereo called it “perfect DIY pop, all the tracks are real gems”, while another, Panda Toes, described it as “the cutest, most fun-loving music of 2008”. The Little Pictures duo broke up the following year.
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.
After a first video was rejected, this version directed by Lee Baker was finished just as ‘How Bizarre’ went to number one in NZ. However, it did play its part internationally as the song became a huge worldwide hit. Shot on a soundstage in Ponsonby and at Ellerslie Racecourse for a budget of $7,000, it was shown on US networks 14,986 times in 1997 and 1998. Pauly Fuemana shares the limelight with Sina Siapia, and a Filipino named Hill, who was enlisted after turning up to help out with the shoot – and became something of a celebrity in his homeland as a result.
This Shihad classic has a classic video to match. With primary colours accentuated and the energy levels of Shihad turned up to match, the band members perform and bustle about in a film studio in one extended shot, without any edits. The time and motion tomfoolery is surely handled; someone has had the bright idea of putting developing Polaroid photos at the bottom of the frame, in order to show that the whole video is unravelling in one continuous scene. Directed by Mark Hartley, Home Again was judged Best Video at the 1998 New Zealand Music Awards.
‘Still in Love With You’ dates from 1978's O Zambesi, the album that yielded Dragon ‘Are You Old Enough’, their first (and only) number one hit in Australia. One of a series of hook-laden singles penned by keyboardist Paul Hewson, 'Still in Love' became another live staple for the Auckland prog-rockers turned Aussie pop stars. A straight down the line performance video shot against a white-washed studio, the video works thanks to the star power of lead singer Marc Hunter, who brings to the party all of his swagger, charisma and coiffed hair. The band bring their sunnies.