Taking their name from the street address of their student flat in Hamilton, Jon Austin, Captain Hook and brothers Jarod and Shannon Brown (from Tadpole fame) formed 48May in 2003. The punk-popsters started packing venues and played at the Big Day Out. Stan Bicknell later replaced Jarod on drums and 48May released second album Streetlights and Shadows in 2007 - which they described as an intimate look at the band dealing with its strengths and insecurities.
An ode to the retrospective joys of listening to AM radio from this Auckland three-piece who mix elements of folk, funk and blues on this smooth pop song written by front person Victoria Girling-Butcher. Richard Bell’s video was shot at the train station at Ferrymead Heritage Park in Christchurch; and his army of loners emerging out of the shadows - drawn in by the music on the radio - underlines the song’s promise of finding companionship from the airwaves. (The Wave Master valve radio was made from the early 1940s by Dunedin company Radio Services Ltd.)
John (Anton Tennet) is a small town crim with a big time dream: to abscond from Thames to Paeroa with his boss’s sister. A robbery gone wrong and a mysterious Chinese bracelet send his plans into a spin, and he finds that going back to the future has a price. Hong Kong action movies, Kiwi slapstick and time travel head to the heartland in Tim van Dammen’s follow-up to Romeo and Juliet: A Love Song. Jonathan Brugh (What We Do in the Shadows) plays the villain; Milo Cawthorne and Yoson An are also in the cast. Mega Time Squad was selected for the Fantasia festival in Montreal.
"If you don't like the beat, don't play with the drum". Taken from Sharon O'Neill's 1983 album Foreign Affairs, the song chronicles "case 1352, a red and green tattoo". It was inspired by a prostitute who worked the streets of King's Cross. The clip starts with O'Neill hitting Auckland Airport. Look out for leopard skin tights and a dress straight off Logan's Run. Other highlights: a steamy sax solo, heavy eye shadow and backlit silhouettes in "rain-slicked avenues." Two clips for 'Maxine' exist: the Australian version won controversy for images of a fictional prostitute, shot in King's Cross.
This simple but very effectively choreographed clip is one of the few pieces of music footage shot for 70s rock show The Grunt Machine that has been preserved. The extended instrumental intro allows Phil Judd nearly two minutes of pacing and hovering in the Avalon Studio shadows before he confronts the camera at his malevolent best. The soon to depart Wally Wilkinson is on guitar; time in Australia has cemented the band's stage personas, Noel Crombie's black and white costumes are a visual treat, and the result is a perfect document of Mental Notes-era Enz.
This performance clip for The Veils is given a distinctive edge using various effects that add a moody, jittery vibe. The overlaid animations — moths trace arcs in the air, shadows move in the background, and the moon and stars make an appearance — add a mood of underworld ethereality, and an echo of the silent movie era. The clip was made by the Brownlee brothers (not the English triathletes). It was nominated for video of the year in the 2007 Juice TV awards. The song is taken from second Veils album Nux Vomica.
In 2007 Rolling Stone magazine named Liam Finn as one of that year's top ten ‘artists to watch' and explained that if you mixed a bit of Elliot Smith with a touch of despair and added a leprechaun, Finn would be the result. Accompanied by such applause, the singer-songwriter has assuredly stepped out of his famous father Neil's shadow, thanks to his achievements with the band Betchdupa, formed in 1997, and the success of his solo albums I'll Be Lightning (which Q magazine named one of the 50 best albums of 2007), FOMO (2011) and The Nihilist (2014).
A State of Siege is the story of a retired art teacher dealing with isolation and loneliness, culminating in a stormy, terrifying night. This is a six-minute excerpt. Vincent Ward's acclaimed short — adapted from a Janet Frame novel — was made when he was at Ilam art school. The Evening Post called it "the most sensitive and intelligent film that has ever been made in New Zealand". San Francisco Chronicle praised: "Ward creates more horror in this low budget movie with his play of light and shadow than Stanley Kubrick was able to create in the whole of The Shining."
This song is from New Zealand’s troubled winter of 1981. The Springbok Tour gave the term “riot squad” currency throughout the country — but the Auckland live music scene and the police were already enduring a very fraught relationship. This number from Auckland ska/soul band The Newmatics, released on the band’s Broadcast OR double 7" EP, was actually written about a 1980 police raid on XS Cafe in Airedale Street. The Keystone Cops music video is classic early 80s TVNZ Avalon and features actors Ross Jolly and Michael Wilson as two thirds of the 'blue shadow'.
Bressa Creeting Cake's jaunty calypso romp, described by the band as "a very happy holiday song full of gaiety, summer, and love for one's fellows", gets a suitably madcap treatment in this video directed by Michael Keating and band member Edmund McWilliams (aka Ed Cake). Actor and comedian Jonathan Brugh (What We Do in the Shadows) gets to mug for the camera while the band lurks in the background in their "sinister suits". Auckland's Little Shoal Bay, near the Harbour Bridge, is the opening location, and elsewhere, a guitar is used as a percussion instrument.