2012 – Page 2 – 5000 Ways to Love You

Nathan Haines “Lady J”

Aw yeah. “Lady J” is a very cool song and the video is the dopeness. Compared to the more polite album version, the video version of “Lady J” has more of a low end, with a rap added courtesy of Sonny Sagala (aka Dei Hamo). That detail lifts the song, taking it a step away from its melodic jazz roots and making it the sort of tune that the Ice TV gang would gush over.

The spunky video is directed by Josh Frizzell and takes on a kind of scrapbook look. Shapes containing Nathan, Sonny and other band members slowly glide or fragment across the screen. It looks a bit like a DVD menu screen from the ’00s, but there’s something that makes it just that bit more sophisticated.

Nathan looks quite different to his usual appearance. He has closely shaven hair and is wearing tinted spectacles. It somehow makes him look much older the young man of 22 he was – but perhaps this was intended. And it was something that hugely appealed to me at age 19 – a video evoking a cool, sophisticated world that seemed out of reach for me in from suburban Hamilton.

In a way, a trick is being played. The video is taking a jazz track and presenting it in such a way that it crossed over to the world of teen pop, like a gateway drug to a cooler world of music.

Best bit: the side silhouette of Nathan’s trousers. Good cut.

Bonus: here’s Nathan in 1995 talking about his album “Shift Left” from TV3’s music show “Frenzy”.

Director: Josh Frizzell
Ngā Taonga Sound & Vision

Strawpeople “Under the Milky Way”

Wikipedia lists 20 artists who’ve covered “Under the Milky Way”. But you know who got their first? Strawpeople, that’s who. Go, New Zealand!

Their version take away the ’80s post-punk sound of the original and gives it some smooth ’90s dance sounds. The video sticks with this vibe, making a sophisticated experience.

Stephanie Tauevihi is the star of the video, in an elegant black suit, big hair and bold make-up. When we see the other Strawpeople – Mark Tierney and Paul Casserly – they’re both playing guitars. This doesn’t normally happen in Strawpeople vids – they tend to lurk in the background, looking all mysterious. Here it’s like, oh, they’re just musicians. How disappointing.

But there’s plenty of oddness to make up for it. We see scenes of a nerdy woman hunched over a typewriter (like what I am doing *right now*, only with a laptop), a reprise of those fabulous Ioasa cheekbones, and a small boy with a globe of the world.

A lot of the footage is out of focus, as if we’re not quite allowed to see everything that’s going on. The rapidly panning camera isn’t going to show us everything. It feels like being a casual observer, with only a connection to Stephanie. Everything else that’s happening doesn’t quite concern us.

Strawpeople videos intrigue me. They simultaneously manage to seem very superficial and shallow, and yet also genuinely deep and meaningful. And I reckon that’s a perfect match for their music.

Best bit: the astronaut hugs nerd girl. Baby, he’ll take u 2 the milky way.

Directors: Mark Tierney and Paul Casserly
Ngā Taonga Sound & Vision

Next… the finest lady.

Cinema “Kuru”

The “Kuru” video is like a tourist in Tokyo, fresh off the plane, wandering about in awe at all the amazing things they’re seeing and experiencing.

The video hangs out in a train station. Even the ordinary sight of trains rolling into the station and passengers walking along the platform takes on new depth. The video takes the ordinary busy experience of a Tokyo train station, films it in black and white and slows it right down. It’s not the experience of a local, but it’s very much that of a visiting New Zealander.

Even the local television is wondrous. We catch glimpses of ads for music videos, television drama and the ubiquitous canned coffee drinks. Filmed off a flickering CRT television screen, it again takes something commonplace and turns it into the exotic. (Just imagine a Japanese video maker using clips of Shortland Street in a vid).

Kuru is a Japanese word meaning “come”, making it very seductive, beckoning video. Here’s someone who’s in love with Tokyo and wants to share the very particular things that have made the city so appealing.

Best bit: racially awkward coffee ad.

Director: Kane Massey
Ngā Taonga Sound & Vision

Next… a treat between meals.

Emma Paki “Greenstone”

Cliff Curtis stars in the follow-up to “System Virtue” (after Bully in “Once Were Warriors, before Pablo Escobar in “Blow”). Cliff plays a trouble young Maori and we first discover him sleeping in his beat-up old car. This is filmed in black and white, but a burst of colour comes in the form of Emma, who gorgeously appears in full colour, decorated in the splendours of nature (ferns and stuff).

Back in the real world, Cliff is at work on a road crew. It’s hot work and he takes a break in the shade of a tree. There, next to a stop/go sign, Emma appears in front of him, which strangely reminds me of Edward appearing before Bella in “Twlight: New Moon”.

Cliff is caught slacking off but dramatically quits and goes into town to hang out with his pals – and consciously rejects a beer. There’s some good footage around the popular music video location of Karangahape Road.

Cliff is caught mackin’ on to someone else’s girl outside the McDonald’s, and after a light scuffle he storms off, eating his feelings at the White Lady food caravan. Mid cheeseburger, Emma appears again, and this time he understands.

Because this is a New Zealand story, nothing good can ever happen in the city, and redemption can only be found in the bush. Cliff makes his way to a waterfall, where Emma appears to him for a third time, turning his black and white world into colour. She presents him with a pounamu pendant, which is just what he needs. Together they are happy.

It’s a lovely video. I also like that it’s a video that isn’t afraid to have a serious plot. Director Kerry Brown has told the story well, but includes plenty of shots of Emma Paki on her own, looking amazing.

Best bit: The brief glimpse of a Playboy cover in the dodgy second-hand bookshop in St Kevin’s Arcade.

Director: Kerry Brown
Ngā Taonga Sound & Vision

Next… the sound of the underground.

Fuemana “Seasons”

sons”Seasons” is a tale of changed emotions, featuring brother and sister Phil and Christina Fuemana, from their influential 1994 album “New Urban Polynesian”.

The video is shot in gorgeous golden tones, simply focusing on Christina and other members of the Fuemana posse. There’s a bit of animation on screen, something that was fashionable in the early ’90s. Simple leaf animations illustrate the passing of time. In other shots, a border with the names of the seasons surrounds Christina, sometimes in English, other times in Nuiean.

While the song is sung from the perspective of a woman, the subject matter involves a man. About halfway through there’s a little spoken interlude between Christina and the man, where he tragically reveals, “I do love you, but I’m not in love with you.” I’m not totally sure, but I think the man is voiced by a pre-OMC Pauly Fuemana.

“Seasons” seems like a really good example of of kind of sound that Fuemana developed. It’s cool, contemporary dance pop but with an unmistakable South Pacific vibe. And the video is even more so.

Best bit: the tambourine with a pair of praying hands on the skin.

Ngā Taonga Sound & Vision

Next… a career change.

Urban Disturbance “No Flint No Flame”

“No Flint No Flame” was originally released when Urban Disturbance were known as Leaders of Style, but they rebranded after they kept being mistaken for a fashion posse. But along with the change of name came a reworking of their killer track. The LOS version was a goofy, fun song with mean samples, lol drugz, and a great chorus. The Urban Disturbance version keeps only the chorus and gets bigger, fresher and funkier and is a self-assured introduction to this group determined to make an impact.

The video sees the band performing in a studio where every surface (including the DJ’s desk) is draped with a crinkled slate-grey cloth. It’s 1993 and the streetwear of the earlier ’90s has been updated with grungy plaids, making Urban Disturbance look like they’d just wandered in from the Milford Track.

Keeping with the literal meaning of the chorus, a fire breather hangs out in the background, hoicking up some fiery entertainment. The trio are also joined by friends, including Dei Hamo.

There’s also a woman with a dalmatian. She’s waiting for a dreadlocked dude who is late. We see him rushing through downtown Auckland, no doubt aware that the dog is cuter and more loyal. This is the only time we see the urban landscape promised by the band’s name. I’m not sure shutting them away with a fire breather is exactly the best way to introduce this group. But their next video, “Impressions” takes it to the streets.

Despite this, the video doesn’t come across as the debut of a nervous young band. These guys feel like pros, and even though they’re stuck with the dramatically crinkled backdrop, it’s apparent that these guys have the moxy to go further.

Best bit: the Dalmatian, being all spotty and cool.

Director: Craig Jackson
Ngā Taonga Sound & Vision

Next… summer, autumn, winter and spring.

The Weather “That’s the Main Thing”

I’d been looking for a Dribbling Darts song from around 1994 called “Do What U Like”. It turns out I should have been looking for a Weather song from 1997 called “That’s the Main Thing”. The Weather is kind of a rejig of the Dribbling Darts, a Matthew Bannister project. The song is all about personal liberty (how American!) but done in a very groovy, laidback way – so laid back it took three years and a new band to get around to making the video?

Director Peter McLennan gives some background into the video:

i directed the video for Dribbling Darts – Do what you like. They made it about two years after they got funding.

the band had the concept for the vid – them dressed in diff eras of pop, incl Matthew Bannister as Diana Ross w Supremes, beatles

The video goes through different styles of pop video, starting with a black and white 1960s folk trio, a heavily made-up 1980s synthpop group with hexagonal electronic drums and eyeliner, an elegant diva accompanied by a violinist and cellist, an energetic new age hippy trio, and an urban hip hop crew. The Red Hot Chili Peppers did a bigger budget version of this idea in 2006 with “Dani California”.

It’s all very fun. The trio enter every scenario with great enthusiasm and a lack of self-consciousness. Mr Bannister in particular carries out his lead singer role with great enthusiasm, no matter how much make-up he’s wearing or how glamorously he’s dressed.

And as much fun as the video is, it still ties in with the central theme of the song – “do just what you like, that’s the main thing”. Now I feel free to get in touch with my inner homegirl.

Best bit: the thought of a parallel universe where The Weather are a notorious hip hop crew.

Director: Peter McLennan
Ngā Taonga Sound & Vision

Next… alternative fuel.

Dead Flowers “Watch Her Play”

Hey, you want some early ’90s digital video effects? Well, this video has them. There’s so much going on that it’s a little overwhelming in the beginning. Animation! Green screen! Pixillation! Solarisation! Things calm down a little once the verses get started, but it still feels like overkill.

Most of the video is based around the band performing in front of a green-screen backdrop. The background images involve swirly rainbow waves, giant flaming flames, and something I will describe as microwave pizza vomit. There’s a lot going on.

We see the crazy girl of the lyrics burning a Barbie doll in a fireplace. Actually, she’s not so much burning it as just holding it near the roaring fire. Maybe Barbie is cold and needs to be warmed. Maybe the girl is conscious of hazardous fumes that might come from burning plastic.

But, ok, it’s 1993. This was new technology and there was a kind of 1960s psychedelia revival happening, though it also feels like the extravagant visuals were trying to disguise a lacklustre song. But while “Watch Her Play” isn’t as strong as the Dead Flowers’ later work, it’s still not terrible – especially considering it was the first single from their second album. I think that while the video likes the song, it likes itself more.

Best bit: Bryan furiously flips through a 1994 wall calendar of scenic New Zealand.

Director: Jonathan Coates
Ngā Taonga Sound & Vision

Urban Disturbance “Impressions”

It’s an Urban Disturbance video! The action kicks off outside the grand old Auckland railway station, back when it was still a grand old railway station and not leaky student housing.

We also see the dudes rapping as they walk down a street, and is notable that all the business awning signs are for independent businesses, with no sign of the chain store brands that dominate the high street today. It’s almost 20 years ago and it while it sometimes feels like a memory of a past time, there’s still some freshness to it.

The video is a fairly low-budget job. The budgetary limits are revealed with playback done via headphones. But that fits with the lyrics that declare, “I’m an extension of my headphones and kerbstones”, a nice way to deal with both aspects.

“Impressions” is a cool, cruisy exploration of Auckland. It captures that early ’90s urban Auckland scene and just has a really nice vibe to it.

Best bit: the National Bank ATM sign – is it too early to feel nostalgic?

Director: Craig Jackson
Ngā Taonga Sound & Vision

Fuemana “Rocket Love”

Funded in 1992 but not released until 1994, “Rocket Love” was a cover of a Stevie Wonder track and the first NZOA-funded video for Fuemana. Phil and sister Christina supply smooth-as vocals, along with a contribution from Matty J.

The video is based around the 1994 short film Funny Little Guy, a kitschy, romantic tale of a woman’s love for an alien. But sometimes it’s an awkward mix, with the beautifully photographed scenes from the film sitting uncomfortably alongside the simpler shots of the group green screened over the top.

But other times the kistchy B-grade style of the film suits the low-budget awkwardness of the video. One thing that makes the cinematic connection work really work is the subtle James Bond motif in the song. That makes the video come across like the DIY opening titles of Bond flick, with, er, Matty J taking the place of the sexy Bond girl silhouette.

Maybe the video is a little overpowering. There’s so much cool stuff going on on screen that it seems to make the song recede. I feel like I’d rather watch the short film and listen to the song separately, each doing their own thing.

Best bit: stop-motion background animation, featuring Elvis stamps, satellites and robots.

Ngā Taonga Sound & Vision

Next… headphones and kerbstones.