PanAm “Japanese Girls”

2002-panam-japanese-girls“Japanese Girls” uses the same trick as Garageland did for their “Gone” video – casting a group of random Auckland Asian extras as Japanese fans of the band. According to NZ On Screen, director Greg Page cast the video via “a notice at an Asian food hall”. Though in the case of this video, the extras do reasonably resemble the sort of young women who’d be fans of the band and who’d leave a video message for PanAm.

That’s the premise of the video – that in a padded pink booth, the titular Japanese girls can leave a message for Flying Nun’s young act. The messages are subtitled, and include such revelations as “I like the drummer”, “My phone number is…” and “Excuse me”. Disappointingly, no one is making like a One Direction fan and claiming that her cat died and wanting Paul to give her consolatory hugz.

While the video fan fest is happening, the band are rocking out in a cool looking warehouse. Except it’s not a real warehouse. As Greg Page explains, “we used a miniature warehouse for the background, made out of balsa and cardboard”. If you look very closely, you can tell the band have been green-screened in, but otherwise it gives the setting a slightly spooky feeling, like maybe the band are ghosts.

Now here’s the thing. When the band are rocking out in their shoebox warehouse, they look really cool. And the song’s a bit saucy with its allusions to BJs and girl-on-girl action. But at the end, when the boys finally get inside the pink video booth with the Japanese girls, they suddenly lose their swagger and become three geeky guys who aren’t quite sure how to act around all these girls, nervously shuffling off at the end. It feels like a really candid moment.

Update: Songlines Across New Zealand talked to Paul from the PanAm about the video. He describes it as the strangest video the band has made, crammed into the video booth with a bunch of non-professionals pulled off the street.

Best bit: that everyone in the video – male and female – pretty much has the same haircut.

Director: Greg Page
Ngā Taonga Sound & Vision

Next: wet, wet, wet.

P-Money feat. Scribe “Remember?”

2002-p-money-rememberOh, remember those days? When life was a bit easier? P-Money and Scribe do. The video has a bit of set-up to do before the song can start (a whole minute of set-up). First we see Scribe doing some freestyle rhyming with his circle of mates, as director Chris Graham’s camera circles the group. I get the feeling this was a spontaneous thing that happened on the day of the shoot.

Then the proper set-up starts. P-Money and Scribe are sitting at a park bench watching some kids playing, remember the halcyon days of their youth. Their dialogue seems improvised and as a result it doesn’t sound too clunky, and conveniently ends with Scribe saying “I remember…” as the song itself starts.

Scribe has some issues with a friend of his, who has evidently betrayed him. They’re engaged in a tense stand-off on Queen Street, but we also see a flashback of the pair play-fighting as kids. Scribe also spies a pretty lady in a record store, so that’s setting up a triangle of drama.

Scribe falls in love with her, leading to a rather nice shot of the couple cuddling on the cool old benches on the K Road overbridge, with the colourfully painted concrete and the city lights in the background.

It turns out that the girlfriend had an unpleasant childhood in the form of a dodgy uncle who molested her. This is a pretty heavy topic to have in a music video, but I think it’s handled well, with more implied than is actually shown.

But I’m most interested in how much of the video is filmed in parks. It’s like a park is a place where kids can go to escape their family home, but also a place where the adults can get away from all the pressures of their complicated lives. And while the city scenes are always full of drama, it seems that only good things happen in the lush green parks.

Best bit: Scribe’s pash – a most unexpected occurrence in a music video.

http://vimeo.com/39134374

Director: Chris Graham
Ngā Taonga Sound & Vision

Next… a casting call.

Nesian Mystik “It’s On”

2002-nesian-mystik-its-onThere’s a thing with Nesian Mystik that their all songs sound like they’ve been written to showcase the specific talents of the individual band members, but yet at the 2002 Silver Scroll awards, Colliding Traits managed to turn “It’s On” into a lite metal number, redeemed only by guest vocals from Lavina Williams. But the original still has a feeling of freshness and coolness that Aucklandness that it first had back in 2002.

The video is just so Aucklandic. It’s filmed around the city in locations chosen to both give things an urban edge and to represent Nesian Mystik in their home turf.

The star of the video is a young boy on a bike. Seemingly inspired by the group having a jam outside their house, he takes off for an epic journey around the city, heading from Kingsland to the tank farm to Victoria Park and up to City Road – all places that have a gritty urban look. And that’s an impressive ride with plenty of hills in the way.

In between the side, we see Nesian Mystik in other places around the city. They’re hanging out on the marae atea of AUT’s Ngā Wai o Horotiu Marae, driving around the city, before all coming together on a K Road rooftop for some breakdancing. And then the video ends with the kid on the bike heading down that really steep street behind Real Groovy.

It’s such an Auckland video that I was compelled to map its many locations. Which in turn makes me want to do a tour of the “It’s On” locations to see how they are a decade later.


View Locations used in Nesian Mystik’s “It’s On” music video in a larger map

Even though the music video has used locations that look really cool and urban, it still feels like ordinary Auckland of 2002. This is not a slick metropolis or a dangerous urban landscape. It’s just Auckland, a place where a group of friends can get together and make some music, watched from a distance by a boy on a bike.

Best bit: Awa’s tino rangatiratanga t-shirt, just casually making a statement.

Ngā Taonga Sound & Vision

Next… a lot of looking back.

Lucid 3 “Fluid”

2002-lucid-3-fluidThe “Fluid” video is based around a fluid – specifically, a tureen of piping hot soup, served for a family lunch on a grey rainy day. The meal is attended by lead singer Victoria Girling-Butcher’s actual family, gathering for lunch at the family home in New Plymouth. It comes as a surprise how alike the Girling-Butcher whanau look – there’s even a resemblance in photos of ancestors. But given that most families we see on the screen are played by unrelated actors, perhaps it shouldn’t be all that surprising that there’s a family resemblance.

The dining is filmed with a relaxed camera, focusing on small details – a slice of bread, a sip of soup, a child’s animated conversation. It’s very cosy and nice, with everyone smiling and enjoying themselves – and there’s no drunk uncle being a dick.

Alternating with the meal is footage of Victoria sitting at a window singing, next to her mini-me niece. Rain falls outside the window, which just makes the indoor goings-on that much more comforting.

The dishes are done and people start leaving. Fortunately the rain seems to have stopped. And the video ends with Granny and Gramps (or Great-Granny and Great-Gramps) at the door, seeing off their offspring.

In a way this video is a fantasy, the family dinner where everyone is loving and peaceful, where the grandparents live in an old homestead in the Taranaki rather than a pensioner flat in Howick. And the video lets the viewer feel like maybe they can be a guest at this comforting family lunch.

Best bit: the soup – it looks pretty good.

Director: Nic Finlayson
Ngā Taonga Sound & Vision

Next… on yer bike.

K’Lee “Lifetime Left to Wait”

2002-k-lee-lifetime-left-to-waitIn a way, K’Lee was the Lorde of the 2000s. A young female singer going by a single name, mentored by an older male songwriter/producer, singing songs about typical teenage experiences. Only Lorde is a lot more serious and is enjoying international successes, whereas K’Lee ended up marrying Coolio’s DJ and – as she recently revealed – they narrowly avoided death when their home was sprayed with gunfire in a drive-by shooting. I can feel you, K’Lee.

“Lifetime Left to Wait” is the final K’Lee single from the Matty J years, a heartbroken ballad to wrap up her brief yet successful spell as New Zealand’s teen pop queen.

The video sees her sitting against a tree, over looking the scenic Waitemata Harbour and Rangitoto island. She’s evidently come to be alone by the tree, to mourn the departure of her boyfriend.

We also see flashbacks of the couple in happier times. There’s K’Lee filming her fellow with a Super 8 camera as he plays his guitar, K’Lee helps him cheat on a crossword puzzle, and they a game of hacky sack. Then he leaves the house, with K’Lee seeing his forgotten gym bag and throwing it down to him. It’s ambiguous what happens to the guy. Is this him walking out on K’Lee? Or does he end up meeting a tragic ending? I like that the video leaves this open. After all, the song could just be a metaphor for the end of K’Lee’s initial pop career.

I was tipped off to a slight blooper in this video. At around 3:10 K’Lee is supposed to be staring meaningfully into the distance as she sings the emotional chorus, but her eyes dart off to the side, a nervous glance off camera. Just at that moment, there’s an 18-year-old girl sitting on a hill, trying to make a music video.

Best bit: the guy’s “1 + 1 + 1” sweatshirt. Clean out your locker.

Ngā Taonga Sound & Vision

Next… a family dinner.

Elemeno P “Nirvana”

2002-elemeno-p-nirvanaI like a good low-budget video. Here’s Elemeno P slowly establishing themselves as a party punk group, with their ode to Nirvana and favourite their love of music.. Original bassist Jules was making his final appearance in the band, ready to be replaced by Lani from Foamy Ed.

The video puts the band in a room divided into four parts – red, blue, green and yellow, for each of the band remembers. They are identified by Scrabble tiles spelling out their names. I bet you’re wondering, so I’ve tallied up the scores: Gibbo (10) – two more points than “Dave”, Scotty (11), Jules (12) and Justyn (16). Justyn gets lucky with both the J (8) and Y (4) in his name. The band name, which spins around on a giant turntable in the centre of the room, is worth only 12 points.

The video is directed by Greg Page, which I had suspected by the rockin’ camera work. But then this little graphic kept popping up, a “Rock-o-meter” which indicates when the band is rocking really hard. It just seems like a Greg Page kind of thing.

With the group’s previous video, “Fast Times in Tahoe” putting them in a sedate country club, this is the video that’s a chance to show the band’s ability to really rock out. You know, they can play their instruments and all. Gibbo especially goes for it, putting on an energetic display in his monochrome Union Jack jumper, singing into one of four microphones.

But what impresses me most is that the lyric “Did I ever mention you’d look wicked in my video?” is not used as a cue to put a cute girl in the video. So in a way, the listener can imagine that she (or he) is the one who would look wicked in the video. With “Nirvana”, Elemeno P established themselves as highly entertaining music dorks.

Best bit: Justyn’s mighty rock poses.

Director: Greg Page

Next… crossword cheating never pays.

Carly Binding “Alright With Me”

2002-carly-binding-alright-with-meHaving done a Geri and escaped from her girl group, Carly Binding was ready to launch herself as a serious pop singer-songwriter. This video provides a stark contrast to the garish world of TrueBliss. The bright orange power bob is gone, replaced with soft natural curls, and the scfi Lycra has been switched for natural fibres (the surprisingly enough don’t look especially out of date a decade down the line). Carly’s sitting on the back of a truck, strumming her acoustic guitar and singing the song she wrote. She’s got a one-way ticket out of Reality Popville, headed straight for Credibility Street.

“Alright With Me” was her second solo single, a pleasant enough country pop song, with a better than average chorus that saw it reach number 10 in the charts. So it’s no wonder that the video plays it very safe, going for a sweet portrayal of Carly in the great outdoors. I get the feeling this is the sort of video treatment that someone like Anika Moa might have felt uncomfortable doing, but it’s a very Carly kind of vid.

As well as sitting on the back of a ute, we also find Jaime Ridge’s future stepmum standing in a green field with a picturesque power pylon behind her, by the muddy shores of the inner Manukau harbour and sitting in the stands at a provincial sports ground. It’s establishing Carly as an ordinary Kiwi chick, the kind who is more at home with her guitar in a pair of jeans than in the orange Lycra of the TrueBliss months.

It’s a really nicely shot video, especially with the lighting of Carly against the scenic backgrounds. Given that most recent Greg Page videos have been of a darker, rockier style, it’s refreshing to see him given the opportunity to make something a bit more vanilla. Though putting a power pylon in a music video is a welcome contrast to the touristy landcapes of similar videos.

Best bit: Carly’s relentless cheer as she bumps along the potholed dirt road.

Note: A second “Alright With Me” video was made for Australia. It’s not online, but you can see a bit of it in this video.

Director: Greg Page
Ngā Taonga Sound & Vision

Next: triple word score

Blindspott “S.U.I.T.”

I’m not entirely sure how it happened, but I used to really really like Blindspott, and I will offer three pieces of evidence:

Exhibit A: check out the heart.
Exhibit A: check out the heart.
  1. I bought their first two CD singles (“Nil By Mouth” and “Room to Breathe”) at a time when I had otherwise long given up buying actual physical singles.
  2. I went all the way out to a skate shop in Orewa, of all places, which was the only shop that stocked Blindspott merch. I bought an official Blindspott t-shirt.
  3. I won tickets to the extreme sport games X-Air, when it was held in Hamilton, and only went because Blindspott were playing. I got Damian’s autograph.

Things were going well, and then Blindspott released “S.U.I.T.”. There’d been talk in NZmusic.com of the new Blindspott single that was changing things up by having rapped verses and a sung chorus (rather than vice versa on the other singles). But along came this really really angry-dude song, with a chorus that seemed entirely unaware of its contradictory lyrics as it yelled “Fuck you and all your negativity!”

And the video is just as much an angry-dude work. It’s set in a shady bunker type space, where the band are playing in a cage, surrounded by dozens of angry looking dudes. There are tattoos, shaved heads, dreadlocks, eyebrow piercings and scowls a plenty.

The band are all performing in matching boilersuits, and there are some graphics that imply they’ve prisoners in a futuristic prison system or at least have just been arrested. Perhaps they’re performing as part of some sort of futuristic community arts periodic detention programme to assist youth offenders. If so, I’m not sure it’s working.

The video is a statement. The previous two videos were self-funded $800 jobs with the bigger budget and all the extras the band have made a bold statement about who are see themselves. But for me the biggest moment is the pre-chorus lyric “This is us and us is this”. The song and video is Blindspott laying down the law. This is who they are and if you don’t like it, you can get lost. Which is what I found myself doing. And I never wore that Blindspott t-shirt.

Best bit: the seething mass of dudes, barely contained by the fences.

Bonus: Here’s Shelton and Marcus from Blindspott giving high school music students a lesson in the structure of “S.U.I.T.” and somehow make it seem like the world’s most boring song.

Director: Nic Finlayson

Next… Miss Bliss’ wild ride.

Betchadupa “Drop D”

2002-betchadupa-drop-dWhile Betchadupa is experimenting with alternate guitar tunings, their video is based around a night in the life of a Betchadupa fan. We meet her in the bathroom, getting ready to get out. She puts on a tiny bit of mascara, some lippy, and heads off, with the camera seemingly attached to her, like a stalker walking backwards.

After taxiing into town, she walks down the mainstreet, eating chips. Part of me thinks, oh, a nice young lady shouldn’t eat when walking down the street, but another part of me is thinking that actually it would be quite choice to have some street chips before going to see a band.

While she’s walking to the gig, we also see Betchadupa playing. They’re also shot in the same reverse POV style (there’s probably a technical term for it). It gives the performance a sense of urgency. Every little movement is amplified, making it clear they’re playing their instruments with their whole body (even though that sounds really weird and sexual).

Once the fan arrives at the gig, the song shifts down to a slower tempo. The whole video is shot in black and white, but the concert footage is shot in a very grainy style, looking like something that’s been found decaying in a basement. Lead singer Liam is a fuzzy blur; the fan is just a head in the crowd.

It’s a nice enough video, but it feels like Betchadupa have become very comfortable with their role as a young rock band. And maybe that is a bad thing.

Best bit: the chips, in all their chiptious glory.

Ngā Taonga Sound & Vision

Director: Greg Page

Next… angry dude fest ’02.

Anika Moa “Falling In Love Again”

2002-anika-moa-falling-in-love“Falling in Love Again” is Anika Moa’s highest-equal charting single, with both it and debut “Youthful” reaching number five. It’s not hard to see why. It’s a sweet romantic song about falling in love with an old boyfriend (or indeed a girlfriend)… after having previously been a bit of a ho. The song was cowritten with James Reid of the Feelers, and was included on the soundtrack of the John Cusack/Catherine Zeta Jones romantic comedy “America’s Sweethearts”.

The video sets Anika in a world populated with lots of cute boys. Everywhere she goes, even in remote coastal New Zealand, eventually there’s a model-like boy giving her the gladeye, and she him. There’s a taxi driver (as sharp-eyed reader Lisa points out, he’s played by Antony Starr), a fisherman, an outrigger canoeist, a cyclist, and a guy who just popped down to the shops for some milk.

And weirdly enough, this doesn’t seem too unrealistic. With the exception of the taxi driver, these occupations and pastimes are not uncommon in the lives of fit young dudes. In every case, there are slow glances and flirty smiles, with the milk boy also getting a kiss on the cheek.

While the taxi driver seems to be driving around a city street (and in a left-hand-drive car), most of the video takes place well away from urban areas, on a sun-drenched beach, a green river, a pleasingly damp rugby field and a small town. I feel like this is a trope in New Zealand music videos – the video as a travelogue, highlighting the parts of New Zealand that may appeal to tourists. But where, I wonder, would tourists find the part of New Zealand occupied by flirty girls and cute boys?

Note: In 2005 Anika talked about the making of this video in a C4 Homegrown profile. She says the American label was heavily involved and flew over a director to keep an eye on things, ensuring the video was full of the aforementioned hot guys. The American also demanded that Anika be filmed from angles to make her look as skinny as possible. Ugh. Watch it here, in part three. Cheers to to Vicky for finding this clip.

Best bit: the classic New Zealand dairy, complete with a wall of red post office boxes.

Director: Justin Pemberton
Ngā Taonga Sound & Vision

Next… giz a chip.