Robyn – Page 46 – 5000 Ways to Love You

Deceptikonz “Don’t Front on Me”

So this is a bit of a weird one. From what I can figure out, in 2002 the Deceptikonz originally received funding for a song called “Chillin'”. A video wasn’t made, but the song ended up on the Sione’s Wedding soundtrack, released in 2006. But also in 2006 came the video for “Don’t Front on Me”, which seems to have been made with the transfered funding originally intended for “Chillin'”. There’s no NZOA logo on the version of the video I’ve found online, but that doesn’t necessarily mean it wasn’t made with funding.

“Don’t Front on Me” was the first single from the Deceptikonz’s second album, “Heavy Rotation”. It comes after Mareko’s modest local success in 2003, but before Savage’s massive international success in 2008. In the video’s YouTube description, Dawn Raid describe the album as “slept on”.

So, to the video. It’s directed by Sophie Findlay who had previously done “Swing” for Savage. It’s a simple set-up – the group rapping in front of green-screened graphics, promoting the band and South Auckland.

It looks like Mareko wasn’t available for the video, so when his part comes, they use a body double wearing a Mareko-style bucket hat, pulled so far down that he looks like Dumb Donald from Fat Albert. Or maybe the real Mareko was just feeling really shy.

The best solo bit comes from Savage, having an angry rant in an old phone box. It breaks the monochrome world of the video to introduce a bit of bright red into the picture. The lyrics dish a bit of their reality – they don’t have to be nice to their fans but they never seem to win the awards they’re nominated for. Hmm, I wonder if the two are connected somehow.

It’s an ok song, but it doesn’t have the instant zing of their earlier stuff. And that’s what the video feels like to. It’s ok, but it’s not even close to the captivating “Stop Drop and Roll” bootcamp.

Best bit: angry phone box Savage flanked by two little Savages.

https://www.youtube.com/watch?v=5uwF3vbFgGQ

Director: Sophie Findlay
Ngā Taonga Sound & Vision

Next… we’re having a party and everyone’s invited.

Salmonella Dub “Platetectonics (Fartyboom)”

eIn the early 2000s, anti-genetic-engineering sentiments were very popular. There was even an all-star charity single called “Public Service Announcement”, as well as the pressure group Mothers Against Genetic Engineering (MAdGE). The “Platetechtonics” video is Salmonella Dub’s foray into the anti-GE world, with an animated cautionary tale.

The video is a sequel of sorts to the group’s “Problems” video, directed by “Problems” co-director Steve Scott. And indeed this video stars the same animated characters from “Problems”, though in a more cartoony form. This time he’s a scientist and has cross-bred a “natural seed” with a “mutant seed”. And you just know this isn’t going to end well.

He plants the seed, has a nightmare about it, returns the next morning and discovered a giant purple bush. He eats a berry and goes a bit mental and had some choice hallucinations involving the music, just like in the “Problems” video. That’s a hard life.

The GE plant gets all Little Shop of Horrors, chasing the hero up a volcano. But suddenly he starts to bloat up, and floats high above the earth. The moral of the story? Er, GE food gives you gas?

The track itself is a fairly laid-back, almost instrumental number. The video is far more engaging and interesting. It avoids the temptation to takes the lazy stoner path, and instead turns the sound into the soundtrack for a surreal adventure with a moral lesson.

Best bit: the classic animation chase up the volcano.

Director: Steve Scott
Ngā Taonga Sound & Vision

Next… the phone box of rage.

PanAm “Interstate Boy”

I figure the titular Interstate Boy is a distant cousin of Telegram Sam. He seems to exist for the purposes of making the lyrics sound cool. Is the song really about a pretty boy who has travelled to several states? Or is just an excuse to drawl out “interstate” because it’s a cool word?

The video doesn’t even attempt to sort out the lyrics. Instead the band are plonked inside a grunty old steam train along with an old man. The video is also shot in high-contrast black and white, so things manage to look really cool. Yeah, check out the clouds of steam and the hot fire of the engine boiler.

A lot of the video involves lead singer Paul playing the song on his acoustic guitar, when the only guitar in the song is loud, distorted, crunchy electric. It’s like a warped take on the cliche of the travelling hobo, hitching a ride in a boxcar. We also see the whole band playing, crammed inside the narrow-gauge New Zealand railcar.

Meanwhile, the old man (who has a pet rat) come in and does a freaky dance in front of the band. This sort of thing never happened on the Crunchie train.

And these high jinks continue into the night, as the train rolls onto its destination, with the three rock dudes, the old fella and his pet rat. I’m intrigued to know what happens next. What further adventures will these four interstate boys (and one interstate rat) face?

Best bit: the brief appearance of a comedy Afro wig on the old man.

Bonus: here’s a list of director Richard Bell’s five favourite videos that he’s worked on, as presented on a rapidly decaying TVNZ webpage.

Bonus II: Songlines Across New Zealand has a good interview with Paul from PanAm. He describes the “Interstate Boy” video as:

“A sort of ‘crazy train’ idea seemed a fitting visual motif for the song Interstate Boy. Got the train, got the weird actor guy, got the chickens and the rat, got the band on board and voila!- a music video. It has its flaws but it’s an interesting little video.”

Director: Richard Bell
Ngā Taonga Sound & Vision

Next… the dire consequences of genetic engineering.

Katchafire “Who You With”

This song is about smoking heaps of pot and getting really off your face and hanging out in Hamilton. Which, for young Hamiltonians, is a popular option.

But the video never explicitly illustrates this, cleverly setting the lyrics of “wrap it up” and “throw it all my the papers” in the world of fish and chips. Yes, the band are sensibly having a good feed before their night out.

The video revolves around a big event at night, but before that the band have to get coordinated through a series of text messages (and one of them has the same cheap-arse Nokia that I had back then!). The text message is a friend of music videos. It’s an easy way to show communication or exposition without the need for dialogue.

While most of the video strays from literally illustrating the lyrics, when the song mentions “spinning out around Hood Street”, the video throws in a few shots of the street itself, a central Hamilton road known for its adequate collection of pubs and restaurants. And David’s Emporium, which is like Geoff’s Emporium or Pete’s Emporium, only better.

Finally all the text recipients come together and everyone meets up at a big ol’ outdoor party, with bonfires and that type of reggae dancing that is only tolerable when one is stoned. It

For a video that can’t show what it’s literally about, it does a really good job of expressing the vibe of the super chilled-out world of pot. I’m not sure how this works, but the song actually seems to slow down and possibly warp the fabric of the space-time continuum as it progresses. Sweet.

Best bit: the Union Jack cellphone case.

Director: Michael Reihana
Ngā Taonga Sound & Vision

Next… all aboard!

Goldenhorse “Maybe Tomorrow”

The “Maybe Tomorrow” video takes us deep into the world of Goldenhorse at the peak of their winery-tour powers. “Maybe Tomorrow” was their highest charting single – peaking at number 10, and the video is their straightest. There are no vampires or caravan curiosities. Instead the video is just Goldenhorse being elegant an New Zealand pop band.

It’s shot in grainy old film (I don’t know much about film formats, but I’m going to guess it’s Super 8). It gives it a cosy, nostalgic feeling, as if this song has just always been around.

We see Goldenhorse performing at a small venue. Rather than bold rock lighting, their stage illumination is provided by the glow of domestic lamps. (You know who else had tons of lamps in their music video? The Holiday Makers.) Sometimes it has a sophisticated ambience, other times it’s just a bit gloomy.

We also join the band down at the beach, where they’re frolicking in the sea. It’s very New Zealand – or at least how homesick Kiwis on their OE, stuck indoors on a miserable winter’s day in England like to imagine things are back home.

It’s a lovely video for a lovely song, and normally that’s where I’d end thing. But a couple of years later – 2004 – the world of “Maybe Tomorrow” got more interesting. First the song was used in an ad for instant jelly, running with the feeling of New Zealand outdoorsy joy. But then a few years after – around 2006 – a second video was made for the song, this time without NZ On Air funding. And this time it was back to the slightly askew world of the earlier Goldenhorse video.

This time Kirsten plays a perfect housewife who is preparing snacks in her kitchen. We also see the rest of the band playing the song in a dark room. It turns out – gasp! – Kirsten is holding the band captive in her house. Was this dark video treatment a reaction against the very nice world of the earlier video and the even nicer world of the jelly ad? I like to think so – an inherent weirdness in the band that cannot be suppressed.

Best bit: Kirsten’s head-bang finale.

Director: Rachel Davies
Ngā Taonga Sound & Vision

Next… fish and chips as a metaphor.

Evermore “Slipping Away”

slippThis was the second funded video for Evermore, and they’re still at the stage where they felt like a high school band slowly figuring out who they are. Lead singer Jon has a comedically affected way of singing, introducing weird vowels to almost every word (“thing” becomes “theee-uhn”), that he has long since ditched.

The “Slipping Away” video is really simple and it looks like a low-budget job. It’s just the band performing on stage at a venue. It looks like a bar, though we never see the audience. The performance area has a low ceiling and it looks like it would just take one moderately enthusiastic leap from a band member so see them bumping the ceiling tiles with their heads.

Nothing much happens in the video. They got the funding, they made a video and it got played on the telly. It’s a perfectly ordinary early-career music video. If they hadn’t struck it lucky in Australia, this might just be another footnote in the history of NZ On Air funding, but as it stands, it’s good to come across a band in their younger, awkward years, while they’re still figuring things out.

Best bit: Jon’s backlit hair, an accidental ’80s hair metal throwback effect.

Next… old lamps for new.

DJ Raw feat. Che Fu, Flowz and KOS 163 “Downtown”

DJ Raw has been previously known with for his turntable work as part of King Kapisi’s Overstayers crew. But for “Downtown” he has his own go, with guest vocals from Che Fu, and KOS 163 and Flowz of the Footsouljahs.

It’s a sunny Wellington day and the dudes have met up for a game of basketball. They’re playing on the urban wasteland next to Te Papa that was eventually redeveloped into Waitangi Park (with a proper ball court). But back in 2002, it was an old car park surrounded by graffiti-covered hoardings – much more photogenic for music videos.

When the evening comes the lads head off to a nightclub where there are plenty of young women to catch their eye. Much of the song is about the men’s reaction to the women, and depending on who’s rapping (or singing), the tone varies from romantic to sexual.

The evening ends with the lads sitting around at the nightclub joined by a large number of women. There’s only a slight hint of awkwardness, which actually makes the scene feel more authentic than if all the ladies were totally into it.

The concept of the video is nothing new, and it actually feels a bit dated. Like, if this had been produced in 1998, it might have seemed fresh. But in 2002, 2003 it’s just not as interesting. Weirdly enough, I’m most excited by scenes of pre-development Waitangi Park.

Best bit: the bitch face given by a club girl after the “girl, we can be together but nothing is forever” bit.

Next… live action brothers.

Detour “She Walked In”

Detour are a Christian rock band, signed to Parachute Records. They have since changed their name to Detour180 to make it clear that they aren’t just veering off to the side – it’s a total 180 degree detour.

“She Walked In” sounds influenced by Creed, aiming for spiritual grandness. It seems like a love song, but then with talk of a “beautiful vessel”, maybe they’re talking about Mary. Or maybe it’s just a polite way to describe a vadge.

The video is only available on the band’s website and it’s in a tiny little Flash player that can’t be expanded to full screen. So I’m left looking at wee figures rocking out in a dark warehouse while a sad African orphan looks up from a World Vision ad underneath.

So, the band are playing in front of an audience that are doing a really good job of looking like an actual audience and not friends of the band roped into helping the video. But like most music video fake audiences, everyone has their hands in the air, waving like they just don’t care. This is what I imagine Parachute was like in the early years.

At one point there’s a shot of a blonde woman standing at the back of the audience. She doesn’t really seem to be into the band. That would suck – if the subject of your love song didn’t really like your band. But as it’s so hard to see what’s going on in the video, maybe the woman does end up down by the stage, waving her hands in air.

Best bit: the “Detour” road sign leading the way to the concert.

Note: the video was previously only available in a tiny format on the band’s website, but it’s now available on the Christian video site God Tube. Thanks, God Tube!

Director: Greg Riwai
Ngā Taonga Sound & Vision

Next… basketball in the museum car park.

Craig McKenzie “Funky Little Hip Hop Angel”

Christian musician Craig McKenzie last showed up as part of the hip hop duo Sumix, who had a funded video for their song “Jump House”. That video isn’t around, but you should go and listen to “Jump House” right now. It has the most incredibly high-energy verses, and a chorus that sounds so intensely Christian, like it ought to be headlining at Parachute ’96.

“Funky Little Hip Hop Angel” has a similar energy, but this time it’s a love song, a tale of unrequited love, when Craig spies a hot chick down at the shops.

The video follows Craig as he walks down the street, sometimes observing his Jandal-clad feet, other times revealing that he’s carrying a rabbit in a cage. As well as this, Craig’s love dilemma is illustrated by stick figures and really cheesy computer graphics.

After wandering town with his rabbit and lusting after a couple of ladies, Craig arrives at the pet store where he works (oh, so that’s why he was carrying the rabbit), and there he gives the rabbit to a little girl who’s excited to get her new pet. Well, that’s cute.

The most interesting thing about the video is that all the main players get an on-screen name caption – there’s Craig, the rabbit, the pet shop boss, but also the two chicks – Jo Price and Joy Ramirez. I like really that. Rather than just being music video hotties, they are allowed to be actual people with names.

This was Craig McKenzie’s one and only solo video to be funded, which is a kind of a pity. I will miss the crazy energy of his music and videos.

Best bit: the quadruple split-screen effect on the rabbit.

Ngā Taonga Sound & Vision
Director: Greg Riwai

Next… men of every Creed.

Blindspott “Lit Up”

Having built up a substantial fanbase (and that’s something that Blindspott have always been good at), they finally had the opportunity to show off with a live video.

The video consists of live footage shot at a Blindspott gig, and there’s a little bit of stage banter at the beginning, where it is established that there are a large number of Westies in the audience.

The video is cut to match the dynamics of the song – the constrained intro roaring into the hearty boganny verses. The editing manages to disguise the fast that the camera work isn’t all that great sometimes. The self-designed parental-advisory sticker from the band’s debut album keeps flashing up on screen, reminding its audience that – check this out, Mum! – there are swear words in the song.

There’s both black and white footage and colour, and both lots work. The black and white is as metal as a pair of black jeans, while the colour is full of the energy and fire of Blindspott’s live shows.

The song ends with very sedate outro, and the video goes with that a bit too much. As a result, things just fade away, where it feels like there should be more connection with the audience – a bit of cheering. But it still feels like a good document of Blindspott on their way up.

Best bit: the brief flashes of spider silhouettes, just to alienate the arachnophobes.

https://youtu.be/CSFhe0u-9dE

Ngā Taonga Sound & Vision

Next… a distraction.