The title track of Shihad’s seventh studio album sees the band moving beyond the harder edged rock of much of their previous work and embracing new technologies (with a decidedly electro introduction) while lyrically questioning the degree to which humanity has lived up to its potential. Director Sam Peacocke places the band in the wilderness of a damp, fog filled, tussock marsh of blacks, greys and dark greens while a man (an apple short of Margritte’s ‘Son of Man’) and woman rise up and run towards each other: irresistibly drawn to human connection.
This theatrically released documentary charts 23 years of highs and lows for one of NZ's most enduring rock bands — complete with personal dramas, early tragedy, adoring local audiences, album sales of 250,000, attempts to crack the United States, and that agonising name change. Seeking an audience beyond the faithful, award-winning director Sam Peacocke expanded the story's scope to feature the band's family and friends as much as the music. NZ Herald entertainment writer Scott Kara called the result "a cracker", and "a must-see for fans of the band".
Auckland Museum's Volume exhibition told the story of Kiwi pop music. It's time to turn the speakers up to 11, for NZ On Screen's biggest collection yet. Turning Up the Volume showcases NZ music and musicians. Drill down into playlists of favourite artists and topics (look for the orange labels). Plus NZOS Content Director Kathryn Quirk on NZ music on screen.
This NZ Music Month collection showcases NZ music television, spun from a playlist of classic documentaries and beloved music shows. From Split Enz to the NZSO, Heavenly Pop Hits to Hip Hop New Zealand, whether you count the beat or roll like this, there’s something here for all ears (and eyes). Plus music writer Chris Bourke gets Ready to Roll with this pop history primer.
This episode of C4's music series Homegrown Profiles looks at the long career of New Zealand heavy rock's favourite sons Shihad. Singer Jon Toogood talks frankly about the band's highs and lows, from forming at Wellington High School to the release of Love is the New Hate in 2005 (when this was made). In a sometimes brutally honest self-appraisal, Toogood talks about the band's success in Australia being tempered with too much drug-taking and ego, their ill-fated name change, and the great American dream that didn't quite work out as planned.
Cushla Dillon was a newbie editor when she worked on the TV series and film Topless Women Talk about Their Lives. Dillon won an NZ Film editing award for her work on the movie, then went on to cut an impressive list of documentaries, shorts and feature films. Notable documentaries she has worked on include The Price of Peace and The Confessions of Prisoner T. Dillon’s feature credits include Orphans & Kingdoms, The Price of Milk and Snakeskin (which she edited with Marcus D'Arcy).
Shihad have provided a guitar-driven soundtrack for a car-surfing, black jeans-garbed generation since 1988, without a single change in band membership. Led by Jon Toogood, Shihad's raw, no-holds-barred rock has produced hit albums The General Electric (1999), Pacifier (2002) and Beautiful Machine (2008), iconic singles (eg 'Home Again') and a committed Australasian fanbase. Evolutions into post-grunge and electro-punk, and a brief name-change (Pacifier) have not betrayed their metal roots, typified in legendary live performances. The band's story was told in 2012 documentary Shihad - Beautiful Machine.
This award-winner from the 2007 NZ Music Awards sees the Mint Chicks performing after dark, somewhere on the edge of suburbia, while a wolf (actually a siberian husky) sparks a journey through the streets — past people wrestling with poultry, and each other. Director Sam Peacocke (Manurewa, Shihad - Beautiful Machine) displays the same enigmatic approach taken with Mint Chicks clip Walking Off a Cliff Again. The band also took out NZ Music Awards for Best Group and Album. Real Groove magazine later rated this the best New Zealand single of the decade.
Shot near Anawhata Beach, west of Auckland, this clip from award-winning music video director Sam Peacocke (Manurewa, Shihad - Beautiful Machine) offers shades of classic Vincent Ward film Vigil, thanks to its images of moody rural landscapes, and kids watching bleak relationships go bad. Blindspott perform the track against foreboding macrocarpas which have a life of their own. The clip was judged Best Rock Video in the 2007 Vodafone Juice TV Awards.
"I dig robots. I make beats." Wellington/New York-based musician Nigel Stanford (aka John Stanford) has released four albums of ambient electronica. He channelled his interest in visualising sound waves into inventive music videos ('Cymatics', 'Automatica'), which garnered awards and millions of YouTube views. Stanford began playing in rock bands at Rongotai College, before exploring digital sounds. Stanford is an IT entrepreneur (formative in Trade Me and FindSomeone). He also founded Wellington film equipment provider Rubber Monkey, and backed movies Second-Hand Wedding and Shihad - Beautiful Machine.