5000 Ways to Love You – Page 59 – Exploring the world of NZ On Air music video funding

Evermore “Oil & Water”

It’s Evermore, the triple-bro guitar-pop group who’s had more success in Australia than New Zealand. “Oil & Water” was a track on the Hume brothers’ second EP (also titled “Oil & Water”) and it’s a pleasant enough song, but nothing remarkable.

The video takes the trio and puts them in an interesting old building full of bunches of twigs and pools of water. Or is that pools of oil? Either way, it’s not oil and water.

The lyrics are intent on using the oil and water not mixing as a metaphor to represent relationship tension. But oil and water aren’t all that bad. If it’s a petroleum-based oil, it can produce a cheerful rainbow. And add a few spices and herbs and you’ll have a delicious salad dressing.

Instead the video goes for a gothic tone. The brothers may be performing in front of a bright window, but they inhabit a world of stark silhouettes and those wintery twigs. It feels a bit post-grunge (is that a thing?), pulling away from the bright guitar pop of the late ’90s and bringing a bit of serious back.

Best bit: the awesome hair silhouettes, bringing an artful quality to a remnant of the hair metal days.

Bonus! Here’s a documentary on the 2000 Smokefreerockquest, where Evermore (aged 13-16) took out the big prize. Hugh Sundae also chats to other finalists Nesian Mystik and an early version of Die! Die! Die!

Next… the beginning of the story.

Dark Tower “Alright Now”

The Dark Tower lads are back and this time they’re having an adventure in a central Wellington neighbourhood. Jody and Eli are cheerfully walking home, not realising that in their flat is the dastardly Mario. He’s eating their cornchips, drinking their beer, farting on their couch and macking on Jody’s girlfriend (as explained by on-screen titles). They walk in mid-mack and Mario makes a run for it, sparking off an epic chase on foot.

It’s not exactly a geographically accurate chase, more a patchwork of chainlink fences, narrow alleyways, paved backyards and bits of flat and hilly Wellington. At one stage the duo are overtaken by a jogger. This doesn’t stop them catching up with the corn chip thief, but he surprises them with a posse of thugs. Fortunately a deus ex machina arrives in the form of Jody’s mum, who flips off the goons and rescues the lads.

But is it too late? Back in the flat, Mario has returned to continue his dance of seduction. Jody’s girlfriend is enjoying herself as Mario shimmies, with his giant belly overhanging his giant Y-fronts. Aw yeah.

At this point I’m wondering what the motivation behind the chase was. Jody’s girlfriend seems much happier with Mario (and what woman wouldn’t want a bearded fellow who’s not afraid to dance in his undies?). Surely corn chip theft is a pardonable crime. But perhaps for Dark Tower, doing a curry fart into someone’s couch is the worst crime of all.

It’s a fun video with great editing, capturing the anarchic spirit of Dark Tower.

Best bit: the birthday boy who gets a face full of cake, thanks to the disruptive chase.

Note: there are two slightly different versions of this video. In one, Dark Tower are credited as Earl Deviance and Eel, in the other they’re Jody and Eli.

Director: David Stubbs

Colliding Traits “Sometimes”

Colliding Traits were, the internet tells me, overall winners of the West Auckland Battle Of The Bands Regional Final, and had crossover with the Christian pop scene. They were also appreciated for their songcraft. And “Sometimes” feels like a well-crafted song, like a mellower Feelers or a less showbiz Opshop.

There’s only 1:43 of the video online, but it’s not hard to guess what the missing first half of the video would be like. Basically, the band perform the video in a black studio while they are showered with water, like it’s raining. This might be a reference to their 1999 EP “Through the Rain”. Or it might just have been done because it looks cool.

The band are good sports, not looking all that bothered by the torrent coming down on them (apart from the occasional defensive nose scrunch).

While the rain doesn’t serve any purpose other than to spice up an otherwise ordinary performance video, wetness in a music video does look great (as Tex Pistol demonstrated in 1987). Everyone looks dramatic and bothered, and the water crashing down on the cymbals is visual poetry. It’s like the old Hollywood saying about Esther Williams – dry they ain’t much, but wet they’re stars. Kind of.

This was the first and only NZ On Air-funded video that Colliding Traits had, eventually breaking up after releasing their debut album in 2002. But this isn’t a bad way of remembering them.

Best bit: the dramatic saturated hair flicks.

Note: the band’s website is still online, last updated in 1999. It’s a classic turn-of-the-millennium minimalist website design, complete with tiny Verdana text.

Next… who’s been eating my corn chips?

Cassette “Don’t Let Anyone”

“Don’t Let Anyone” is a laid-back alt-country number, but the video takes the trio on a much wilder adventure. We meet the group as they’re each driving in identical brown cars. A handy map identifies that they’re travelling from separate parts of town, all headed for the centrally located Paydirt Studios.

The video uses a lot of animated backgrounds, and there’s plenty of CGI trickery, like when the band pulls up in their three identical cars (all played by the same car). The lads head into the pink palatial studio complex and each goes into an area with a different theme, involving costume, props and appropriate backgrounds. There’s a hunting lodge, a tropical beach and a winter wonderland. Hunting Lodge Tom gets to sing the song as part of his area.

It seems that Paydirt Studios are kindly making a music video for Cassette, but the Paydirt’s surreal production line is making a rather off video. Feeling somewhat uncomfortable in this strange “presentacion de los Cassettes”, the trio escape, sprinting through the sets as they flee the studios and pile into one of the brown cars as they made their getaway.

The video was directed by Jonny Kofoed, who’s since made a career out of doing delightful animations for the world of advertising. I like his dark take on the world of video production.

Best bit: Tom’s very long look in the rearview mirror.

Director: Jonny Kofoed
Ngā Taonga Sound & Vision

Next… wet, wet, wet.

Augustino “Into The Grain”

I love this video so much. In fact, if someone told me I had to stop 5000 Ways today, I’d almost be ok with that. “Into the Grain” is little over two and a half minutes long, but it feels like every shot in the film is the right thing in the right place.

The video begins with a door, the NZ On Air logo rotating on a door hanger. Eagle-eyed readers will noticed that this is where I got the above header image from. Inside we find Sean from Augustino sitting on a chair in an otherwise empty room. It’s decorated with shagpile carpet and a grotesque rococo-style wallpaper. The camera slowly pans in on him, but it feel like hesitant pan, as if it’s afraid to get too close. After the first stanza Sean stops lip-synching and turns to the left. He notices that the wallpaper pattern is writing. Trippy as.

The chorus switches to Augustino rocking out in a small room. It looks like they’re in a rundown house, a contrast from the room of weird. For the next verse we’re back with Sean in the freaky room. It continues to be freaky and then it’s really annoying because a fly walks across your screen. You go to swat it away but suddenly realise it’s part of the music video. Well, you think, that was a neat trick.

Back to the chorus and this time we see the band graffitiing a room in the rundown house. It’s the worst graffiti ever, just random scribbles. I mean, a 13-year-old kid from the suburbs could tag up a wall with greater style than that.

Again we join Sean as he continues to stare down the camera. But suddenly flies start crawling out of his mouth, and the image starts to shake and warp. It wasn’t just one trick fly – they’re everywhere! It’s like the video has become too intense and is breaking apart from the pressure.

What’s the perfect antidote to an intense situation? Why, a coffee break. We join the band in the kitchen of the old house, having a sped-up coffee break. But this is not enough to stem the chaos. Sean bravely swats away the increasing numbers of flies that are pestering him, and soon the screen becomes crowded with the pests.

The video was directed by Augustino drummer Wade Shotter. As well as having really strong usuals, the video also has a great sense of rhythm. “Into the Grain” is a manic, slightly ridiculous song about getting out of it on drugs, but the video takes that to a whole ‘nother level.

Best bit: the warping wallpaper, the merest hint of the craziness to follow.

Director: Wade Shotter

Next… step inside a world of fantasy.

Alastair Riddell “Peace Dream Solution”

It’s said that when Alastair Riddell and Space Waltz burst onto the scene in 1974 with the Bolan- and Bowie-inspired “Out on the Street” on the New Faces talent show, it was like aliens from planet pop arriving to show the backward earthlings of New Zealand a thing or two. But 20 years later Alastair shows up wondering “whatever happened to the peace dream solution?”

Restlessly sitting in a Le Corbusier chaise longue, he watches a rapidly changing slide show of images of world history and culture from the last two decades. Martin Luther King Jr, starving Africans, Ronald Regan, Pope John Paul II and Elvis flash past, like the reprogramming scene from “A Clockwork Orange”.

But the song comes across less as a lament and more as a dig at the boomer generation, the former flower children who can be now found in the gyms, concerned more about their physique than peace and love.

I found a 2007 TV show where Paul Holmes grills Alastair about the meaning of “Out on the Street”. He answers, “A lot of people were making a lot of noise about the new age, the age of Aquarius. We had “Hair” some years before. And I really thought that the age we lived in was a bit more like a whore or a lady of the night.” So it seems he was never a great believer in the promise of the peace dream solution, but perhaps it come as a shock just how rapidly his generation discarded those ideals.

As the video progresses, Alastair gets off the couch and turns his back on the slideshow, instead rocking out with his guitar. There’s also a bit of animation, involving Elvis stamps and strongmen. Very ’90s.

The video ends with Alastair in a military uniform, singing “all you need is love”. It’s like something out of “Hair” – the hippy is shockingly revealed to be part of the establishment. Whoa.

Best bit: the Regan-faced pope.

Ngā Taonga Sound & Vision

Greg Johnson Set “Come On”

Greg Johnson takes a further step away from the straight folky video of “Isabelle” and introduces a popular video theme of the ’90s – freaky friends. But being a gentle acoustic folk-pop song, it’s a classier version of the usual leather and latex scenario.

We find Greg lying on his canopy deathbed, surrounded by his nearest and dearest. He’s so poorly that he starts to imagine a curious collection of people. There’s an elegant angel, played by Tandi Wright who was just months away from becoming known as the trouble Caroline on “Shortland Street”.

And model Colin Mathura-Jeffree can be spotted along with a geisha, a strongman, a corseted lady and a blue-painted person. These were the innocent days; the days before he had a flavour of gourmet ice cream named after him. It’s a strange side effect. Almost 20 years later these supporting players in the video suddenly stand out as celebrity cameos.

While the bedside anguish goes on, Greg has a flashback in the form of a home movie. We’re off to the seaside with a small boy and his mum, a free-spirited, dreadlocked lady. I assume that Greg is the person filming the outing, the recipient of loving states from the woman and the boy.

Back on the bed, there is still great sadness. When even a fabulous geisha can’t cure all ills, you know it’s bad news.

Best bit: child Greg’s hipster-style pencilled-on moustache.

Director: James Holt
Ngā Taonga Sound & Vision

Next… the love revolution revisited.

Ted Brown and the Italians “How is the Air up There?”

Ted Brown was (and still is!) a great songwriter and performer. I saw him opening for the Mutton Birds in 1993 and he blew everyone away. But yet chart success eluded him. His biggest hit was when the Strawpeople covered “Love Explodes”.

“How is the Air up There” was a 1966 hit for garage rock locals the La De Das. Ted and his Italians keep the crunch of the La De Da’s original version but give it a bit of jangle and some smoothness.

The video has hints of the psychedelic world of the ’60s. The band perform the song against a blue studio background, lit in red. It comes across a little sinister and menacing, with the shadows and red light looking like all that’s missing is a pitchfork and stick-on devil ears.

We also see the band in a more civilian form, shot in colour within a slightly psychedelic oval frame, with Ted in bad-ass mirror glasses. Maybe that’s the problem. The video seems a bit too badass. It’s sarcastic, sneering, aggressive. It’s a great song but the video feels like Ted is angry at me and I don’t like that feeling.

Best bit: Ted’s impeccable pronunciation of “air” and “there”.

Note: in 1995 a DLT remix of the song was used as the theme music for TV3’s New Zealand music show “Frenzy”.

Director: Craig Jackson
Ngā Taonga Sound & Vision

Next… a stylish collection of freaky friends.

Second Child “Crumble”

Second Child was the early band of Damien Binder, also featuring future Stellar guitarist Chris van de Geer. But the video strongly focuses on frontman Damien, to the point where it could easily pass for a solo video.

“Crumble” has a dark grungy sound, a song of bitter defiance. The video, directed by Jonathan King, is shot in sepiatone, filmed in an old rusty building. The lighting is dramatic, giving Damien plenty of opportunities to pout and sneer his way through the lyrics.

When we see the band, it’s only briefly and they’re left lurking in the shadows, a distant blur. But given that the song is about someone who’s succeeded against expectation, perhaps it’s better that the emphasis is on Damien, the man alone.

It’s a really good-looking video – something that I’ve come to recognise as a hallmark of director Jonathan King. He has an eye for sophisticated, artistic mise-en-scene. (OMG, I just used “mise-en-scene”. Well, I have to put my tertiary education to use.)

Best bit: the awesome setting for the guitar solo – a grungy concrete platform.

Director: Jonathan King
Ngā Taonga Sound & Vision

Next… a weather report.

Cinematic “Already Gone”

In a Wellington flat, a group of young people sit around a kitchen table. They’re cracking open fortune cookies, sharing coffee and having a very involved conversation. Meanwhile in the adjacent lounge, Cinematic are sitting around performing the song, an upbeat folk number, not unlike their Christchurch peers the Holy Toledos.

It comes across looking like the theme song of a TV series about some hip young adults living in the city – not unlike what “The Insider’s Guide to Happiness” did a decade later.

In a strange way I find myself more interested in the action in the kitchen than the band in the lounge. It’s because the people gathered around the table are more lively and engaging. The band are just getting down to business with playing the song, though frontman Jeremy Taylor (a food blogger and record store nerd these days) has a great presence.

Another notable thing is cigarettes. A couple of the chatting group are smoking. Less than a decade later, casual smoking in music videos has pretty much died out altogether. Now it just seems pretentious and irresponsible. Oh, you think you’re cool with that cig?

This video feels like there’s a lot of lost potential. The song should have been more successful and the kitchen table group should have had their own series. Oh well, there’s still the video.

Best bit: the montage of lingering glances, across-the-table drama.

Director: Jonathan Brough
Ngā Taonga Sound & Vision

Next… a grungy crumble.