Record label Flying Nun is synonymous with Kiwi indie music, and with autonomous DIY, bottom-of-the-world creativity. This collection celebrates the label's ethos as manifested in the music videos. Selected by label founder Roger Shepherd: "A general style may have loosely evolved ... but it was simply due to limited budgets and correspondingly unlimited imaginations."
This collection rounds up almost every music video for a number one hit by a Kiwi artist; everything from ballads to hip hop to glam rock. Press on the images below to find the hits for each decade — plus try this backgrounder by Michael Higgins, whose high speed history of local hits touches on the sometimes questionable ways past charts were created.
Rip it Up editor and hip hop supremo, Philip Bell (DJ Sir-Vere) drops his Top 10 selection of Aotearoa hip hop music videos. The clips mark the evolution of an indigenous style, from the politically conscious (Dam Native, King Kapisi) to the internationalists (Scribe, Savage). It includes iconic, award-winning efforts from directors Chris Graham, Jonathan King, and more.
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'.
Parachute had become New Zealand’s longest-running music festival when it shut up shop in 2014, after an impressive 24 years. This clip from youth news show Flipside looks at the 2004 edition. Flipside presenter Mike Puru interviews Parachute Music Festival founder Mark de Jong. Focussing on Christian music, Parachute brought Christian musicians to a large young audience. De Jong mentions that Parachute is more than just a festival — the organisation helps train and record young musicians, and includes a label and a publishing company. Band Detour 180 are also interviewed.
Dragon have produced some of Australasian pop music's classic anthems ('April Sun in Cuba', 'Are You Old Enough'). This 2015 documentary charts 40 rock'n'roll years: chart success, drugs, fame, failure, family, survival. The first excerpt looks at the band facing early success and tragedy; the second covers the impact of the 1998 death of singer Marc Hunter, especially on his brother Todd. The doco screened in the Prime Rocks slot. "Made with care and quite a lot of love", praised NZ Herald’s Greg Dixon, "by turns, sad and uplifting, which is no mean feat."
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.
Outrageous Wellington rockers Head Like a Hole (aka HLAH) formed in 1990, taking their name from a Nine Inch Nails song. Masters of excess, they quickly made a name for themselves via unhinged live performances (not to mention a casual attitude to clothes on stage). Sharing management, a record label and one obscure recording with Shihad, HLAH split in 1998 after four albums, in a state of disarray. After reforming for the 2009 Homegrown festival, further releases followed. Swagger of Thieves, a documentary on the band, that was a decade in the making, premiered in July 2017.
Singer-songwriter Anika Moa admits she wanted to be a rugby player. "I played for Canterbury for years. But I chose music". The decision paid off: in 2000 she became the first New Zealander to sign to an international record label without a home release. Although her debut album Thinking Room produced hit singles (‘Youthful', 'Falling in Love Again'), Moa wanted to "stay true to herself and her musical path", and returned to her Kiwi roots in 2002. Since then she has recorded a series of popular albums, and also composed music for a run of documentaries.
The Inkling was described by Wellington student publication Salient as a "post rock/jazz/instrumental/whatever" group and by their record label as "ploughing a similar furrow to the likes of HDU & Jakob". Members of this largely instrumental act were Osaka Silenzio (guitar and occasional vocals), Phil Smiley (drums), Stefan Garstang (bass) and Luke Bang (brother of Fur Patrol manager David Benge) (keyboards). They released one album called 'Deluge' which was recorded with Wellington super-producer Lee Prebble and released by Capital Recordings in 2005.