Toy Love's decision to frolic amid the crucifixes in a Dunedin graveyard for this video offended some locals — but it was water off a punk's back for this free-spirited bunch. 'Good Old Joe' ( alongside 'Amputee Song') was the flipside to their third and final single, 'Bride of Frankenstein' . After eighteen frantic months, one album and nearly 500 gigs the band called it quits in late 1980. The clip begins with an excerpt from a group interview; Chris Knox thanks their fans for buying their debut album, and cracks up at a laconic aside from guitarist Alec Bathgate — 'it could have been worse'.
Kiwi music legends Toy Love are credited with leading the NZ post-punk sound, delivering a sonic flare from 1979 that scaled charts and smashed Sweetwaters watermelons, before the love ended on a late 1980 NZ tour. In this February 1980 interview for regional show The South Tonight, the band is seen in their Dunedin hometown, preparing for a show at The Captain Cook Tavern. Reporter Keith Tannock asks Chris Knox what he’s rebelling against as the singer chugs a double-barrelled ciggie, and casts shade on boring pub rock music. The band would shortly depart for a stint in Sydney.
“You get the impression that Wellington wants an audience but doesn’t want to be seen to be trying too hard to get one”. This report surveys 1982's local music scene, framing tensions between an energetic politically-conscious underground, and commercial rock and pop (i.e. Auckland). Not all is positive, with complaints about lack of venues and promotion, and violence at gigs. Interviewees include Mocker Andrew Fagan, Nino Birch (Beat Rhythm Fashion), Dennis O’Brien, Ian Morris, promoter Graeme Nesbitt (in Radio Windy sweatshirt) and punk singer Void (Riot 111).
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.
Taking its title from a quote from Def Jam's Rick Rubin, NZ's first homegrown house record was a one-off studio project made by four graduates of the punk and post-punk scenes of the late 70s and early 80s — Simon Grigg (Suburban Reptiles manager and Propeller Records boss), Alan Jansson (Steroids and Body Electric), James Pinker (The Features) and Dave Bulog (Car Crash Set). It was released in NZ as a white label 12" 45 and made a brief appearance in the UK club charts. Grigg and Jansson went on to work together on OMC's international hit 'How Bizarre'.
Chris Knox's music career began with legendary Dunedin punk band The Enemy, followed by post-punk heroes Toy Love, then the Tall Dwarfs and his own solo work. Knox has been a film reviewer on arts shows The Edge and Backch@t, and hosted the series The New Artland. As a singer-songwriter and music video director, he is known as a pioneer of lo-tech, DIY classics. For this special two-part ScreenTalk interview, Flying Nun founder Roger Shepherd chatted with Knox about his life and career. In part one, Knox talks about: His early love of film and how he first got into filmmaking The first footage of The Enemy, shot by cameraman Peter Janes Making the Toy Love video Squeeze Making the later Toy Love videos Rebel and Don't Ask Me Part two of this interview can be found here, where Knox talks about moving into making his own videos, being a film reviewer and TV presenter, and his comic strip Max Media.
This documentary tells the story of the legendary Flying Nun music label up to its 21st birthday. The label became associated with the 'Dunedin Sound': a catch-all term for a sprawl of DIY, post-punk, warped, jangly guitar-pop. The Guardian: "[it's] as if being on the other side of the world meant the music was played upside down". Features interviews with founder Roger Shepherd and many key players, the spats and the glory. The label's influence on the US indie scene is noted, and Pavement's Stephen Malkmus covers The Verlaines' 'Death and the Maiden'.
The Screaming Meemees (named for a 1960s toy machine gun) formed at Rosmini College in Takapuna and were at the forefront of a post-punk wave of new bands from Auckland’s North Shore in the early 80s. The band’s first proper release ‘See Me Go’ became the first NZ single to enter the charts at No.1 (helped by pre-sales and delivery delays) and was immediately deleted. A massively popular live act, they recorded one album If This Is Paradise, I’ll Take the Bag (a nod to TV's It’s In The Bag game show) for the Propeller label but disbanded in 1983.
The Newmatics came out of a fertile post-punk early 80s Auckland music scene that also spawned Blam Blam Blam and the Screaming Meemees. Taking their cues from ska, r’n’b and soul, they were a fearsome live act — but managed to release only nine songs (including their enduring legacy ‘Riot Squad’ — synonymous now with the 1981 Springbok Tour). After their split in 1983, Mark Clare took up acting (he’s the bungy jumper in the classic Instant Kiwi ad), Kelly Rogers co-founded Rialto Cinemas and Ben Staples played with UK indie band The Woodentops.
‘Beings Rest Finally’ was the A side of the first of three singles released by Wellington post-punk outfit Beat Rhythm Fashion (the single shared its initials with the band’s name, as did the flip side ‘Bring Real Freedom’). A product of early 80s nuclear dread — the “disaster day” in the lyrics might refer to the death of millions — the band nevertheless saw it as a “happy sort of lullaby” rather than a sad song. The TVNZ video captures this combination of innocence and terror as children paint a colourful mural over news footage of war, unrest and a mushroom cloud.