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.
Contemporary troubadours Marlon Williams and Delaney Davidson delve deep into the sounds of traditional country music. After co-writing ‘Bloodletter’, from their debut album Sad but True: Volume 1, they won the NZ Music Award for Country Song of the Year. The gothic tale of tragedy and misery is visualised by director Tim McIness via a Once Upon a Time in The South horseback pursuit, as Williams tracks a fleeing Davidson. The wide open spaces of mid-Canterbury’s Mesopotamia Station make an admirable substitute for the frontier’s big sky country.
The second single from Wellington's country crossover kings is a classic tale of lost love and the girl that got away: propelled by Nik Brown's fiddle, with Barry Saunders out front singing it like a cowboy. Director Waka Attewell's music video intersperses the band's performance with shots of Saunders in and around Wellington with a supporting cast of planes, trains and automobiles. The car is a cut-down Holden Belmont and there's a glimpse of the Cook Strait ferry (but the Warratahs' involvement with the Interislander is still a few years off).
'January's Well' is one of a number of very different looking videos Auckland singer-songwriter Reb Fountain has made with director Anton Steel. It's an eerie, gothic ghost story set in Auckland's Domain which follows the spirit of a young girl (Fountain's daughter — her son is up a tree) who goes in search of music being played in the forest and meets other ghost children along the way. The appearance of Fountain's band, The Bandits, was inspired by Todd Haynes' Bob Dylan film I'm Not There (a look with particular resonance for California born Fountain).
NZ On Screen’s Dunedin Collection offers up the sights and sounds of a city edged by ocean, and famed for its music. Dunedin is a bracing mixture of old and new: of Victorian buildings and waves of fresh-faced students, many of them carrying guitars. As Dave Cull reflects in his introduction, it is a city where distance is no barrier to creativity and innovation.
'No 8 wire' Kiwi ingenuity is defined by problem solving from few resources (No 8 wire is fencing wire that can be adapted to many uses, an ability that was particularly handy for isolated NZ settlers). Embodied in heroes from Richard Pearse to PJ, Kiwi ingenuity is a quality dear to our national sense of self. It has been memorably celebrated, and sometimes satirised, on screen.
Packed with creatures and landscapes that quite simply boggle the mind, the Nature Collection showcases New Zealand's impressive menagerie of nature and wildlife films. Many of the titles were made by powerhouse company NHNZ, which began around 1977 as the Natural History Unit, a small, southern outpost of state television. In this backgrounder, Peter Hayden — who had a hand in more than a few of these classic films — guides viewers through just what the Nature Collection has to offer.
The Warratahs were unique in the late 80s NZ music scene — a band playing classic country music with an eye on the mainstream. They enjoyed some chart success but director Waka Attewell's video for their first single almost seems to anticipate that they will make their major impact as a live act — honing their sound on the road in halls, pubs and woolsheds the length and breadth of the land. The location is a school hall in the Wellington suburb of Brooklyn, with a room full of dancers responding to the Warratahs' signature warmth and timelessness.
In 1973 EMI NZ producer Alan Galbraith saddled up Rockinghorse: a supergroup of Kiwi musicians (including ‘Nature’ composer Wayne Mason) to provide session music for the label’s artists. Rockinghorse found success of their own with the third single from the Throughbred album — ‘Thru the Southern Moonlight’. It won Best Single at the 1975 RATA Awards. The band also won Best Group and their celebrations led to a year-long ban from the Lion Breweries pub circuit. Here they funk up the cowbells in a 1974 end-of-year special, for Christchurch-based music show Pop Co.
Crooner Marlon Williams has called 'Vampire Again' "my own demented tale of New Age self-affirmation". The song was born after he discovered he was the only person to dress up as a vampire for a screening of 1922 horror classic Nosferatu. Williams directs the music video; his portrayal of dance fiend and comical bloodsucker reflects his belief that good material can be found in the tension between serious and foolish. The video was shot and cut by veteran music photographer Steve Gullick (Nirvana). It won Best Music Video at the 2018 Vodafone NZ Music Awards.