2004 – Page 9 – 5000 Ways to Love You

Steriogram “Road Trip”

“Road Trip” was the follow-up single to “Walkie Talkie Man”, Steriogram’s attempted breakout single that came with a great big fancy music video directed by Michel Gondry. “Road Trip” was somewhat less ambitious than the yarn-based universe, but still a good portrait of Steriogram in their attempt to make it overseas.

The song is an honest account of life on the road – the mix of sleep deprivation, boredom, having no money, hunger and – oh yeah – “we’re doing what we love and we love what we’re doing”. The video is along for the ride, but doesn’t dwell too much on those less fun aspects. As director Andrew Morton explains on YouTube, “I went on the road with Steriogram for three months back in 2004. We went to Tokyo, Toronto, and all through the States multiple times. It was an insane amount of fun and killer times. This video is a compile of those travels.”

There are a few shots of the band napping in vans and breakdancing in hotel rooms, but most of the video is based around live shows. Despite the tedium of the van, it seems Steriogram could turn up to a venue, put on a show and get the crowd moving.

It’s a really effective live video. They’re not faking audience size or enthusiasm – here’s a young New Zealand band who are working their arses off on tour. They didn’t quite manage to establish themselves in America, but this video is a good enough record of that year of hard work.

Best bit: the end shot of a guitar being tossed up in the air, with no follow-through on the comedown.

Director: Andrew Morton
Ngā Taonga Sound & Vision

Next… summertime gladness.

Opshop “No Ordinary Thing”

Opshop return with “No Ordnary Thing”, and it sounds like they were listening to a lot of Radiohead when they wrote it. The song is perhaps best known when it was used on Outrageous Fortune when Aurora died. Boohoo.

The video is largely animated, set in space. It opens with what looks like an eclipse, only it’s revealed that the large object blocking the sun is actually a car tyre. We soon discover that there’s whole lot of stuff floating around in space. But this isn’t standard space junk – it’s very ordinary bits and pieces of everyday life on earth. Things like a doll, a petrol pump, a t-shirt, and a flickering neon sign advertising “X GIRLS”.

But a curious thing is happening – the objects seem to be getting unwrecked, unsmashed. Then we discovered all the junk is heading for one spot and – ohh… – it’s rebuilding planet Earth, which we presume has previously exploded.

This is like one of those really rubbish deux ex machina episodes of Doctor Who. And somehow it’s only the accoutrements of Western life that are heading back, suggesting this repaired Earth will have remote African village huts made of laptops and sneakers.

Back on the rapidly reconstructed Earth, we find Jason from Opshop in a playground with his daughter. He’s taking photos of her, implying that the only thing that can bring a fractured world back together is a father’s love for his daughter. Well, that’s nice.

It feels like the song is so strong that it doesn’t really need the video. People who like the song will like it regardless of whether or not there’s a pair of sneakers floating in space.

Best bit: the “X GIRLS” sign, bringing some cheap thrills into space.

Ngā Taonga Sound & Vision

Next… on the road, yet again.

Nesian Mystik “What’s Next?”

After having five videos funded from their debut album, Nesian Mystik return with the first track off their follow-up album Freshman (which, being their second album, technically should be Sophomore, but that doesn’t sound as cool).

Like a lot of the group’s songs, this one is about Nesian Mystik, but unlike their previous songs, “What’s Next?” has a harder edge with some of the lyrics getting bleeped in the video. A threat that they’ll “Mimi [urinate] on you amateurs, just so ya’ll can feel our flow” has “mimi” removed, to avoid any bilingual offence.

But that’s nothing compared to this line:

I hate to bring this up like an eating disorder
But you could never touch on this like molesting your daughter

The “molesting your daughter” bit is bleeped. Damn, this trumps Split Enz’s “I’m lost at sea and I’m an amputee” line from “Shark Attack” as the worst couplet in New Zealand music ever. Far out. Just because it rhymes doesn’t mean you have to use it.

So, with Nesian Mystik being bad boys, how does the music video show this? It puts them in an underground car park, in a nighttime cityscape, and under the Victoria Park overpass. The overpass looks all gritty and urban on camera, but if they took a few steps to the left they’d be standing in a pretty cricket oval, surrounded by splendid London plane trees.

Yeah, the video is trying very hard to be hard and edgy, but the poppiness of the song (the chorus is killer) and the niceness of the group that still comes across makes it hard to believe that they are the sort of dudes who’d be found hanging around a dark car park, and all that implies.

Best bit: the song’s opening, simple Spanish guitar played outside a suburban house.

Director: Mark Tretheway
Ngā Taonga Sound & Vision

Next… space junk, space junk.

Lucid 3 “AM Radio”

This song is Lucid 3’s very cool tribute to the pleasures of AM radio, but I assume they’re not including 1300 1ZH, the local Hamilton pop station of the ’80s. Because there was nothing cool or romantic about hearing a fuzzy, monophonic rendition of “The Living Years”. Ew.

The video sees the trio performing the song in a wood-panelled room in front of a small audience of hoodie-wearing dude slumped in their chairs, looking like they’d all be more at home in a Blindspott video.

There’s once latecomer to the performance. He arrives and walks over to a vintage Wave Master radio and switches it on. Soon he and his hooded brothers started nodding their heads to the beat.

And there the video seems to have reached its happy place. The song fades out, which leaves the prospect of the band playing to the audience of nodding, hooded radio heads forever. But being an AM radio station, it’s only a matter of time before an ad comes on for a local muffler repair shop.

Best bit: the shiny silver Wave Master radio.

Director: Richard Bell
Ngā Taonga Sound & Vision

Next… the bad-boy aesthetic.

Katchafire “Seriously”

A lot of Katchafire’s previous videos have involved the band playing at some sort of concert, but this video goes a step further and is a recording of an actual live performance.

It all looks like a pretty standard Katchafire show, with no rockstar (reggaestar?) antics wheeled out for the camera. And it’s so good to see a real audience in a performance music video. The enthusiastic crowd dance and cheer, seemingly of their own accord.

The song takes a while to get going. In this live version, the bass doesn’t kick in until almost two minutes into the song. Before that happens, the build-up feels like one big tease of EDM proportions.

Strangely enough, throughout the performance we can hear the constant chatter of the crowd. Is this normal at a Katchafire concert? Because it seems to me if you’re talking loud enough to be heard over the music, then you’re probably not really paying all that much attention to the music.

It ends up being a fairly ordinary documentary of Katchafire playing a live show in 2004. Maybe that’s the problem. To be in the crowd, dancing along with your friends with your favourite band would be a great experience. But somehow these emotions don’t translate so well to the screen.

Best bit: the positioning of the NZ On Air logo at the end of a beam of light.

Director: Ivan Slavov

Next… tuning in.

Jordan Luck “Here They Come, There They Go”

After a long, successful run with the Exponents, Jordan Luck went solo, accompanied by his new backing band called Luck. “Here They Come, There They Go” was his only solo video to receive NZOA funding.

The video for his first single attempts to delve inside the subconsciousness of Jordan, starting with the singer asleep in bed, having a dream involving two bikini-wearing chicks who also have the head of a fish. I dunno. I just always imagined Jordan Luck’s dreams would be a bit more interesting than femme-fish erotica.

Fortunately real life proves to be more interesting. He takes a shower then sits down to enjoy a nice full English cafe breakfast, only for the sossies and to transform into chocolate fish and other oceanic delights. Oh, and the waitress has a fish head.

Much of the video takes place on a double-decker bus, full of Jordan’s band (including serial session bass player Mareea Paterson) and various freaky friends. There’s also a bit of action around Western Springs, with even yet still more fish-headed people and some punks feeding jelly worm sweets to the ducks.

The song has a fun singalong chorus and the video joins in with all the energy of that. Even when Exponents videos were being lively, there was always a seriousness to them. Jordan’s solo video just gets down and has a great time.

Best bit: the throwback to the gold commedia dell’arte mask originally seen in the Exponents “House of Love” video.

Director: Ivan Slavov

Next… down in the front row.

Goodnight Nurse “Taking Over”

The video opens with Danny Watson. Forget the distant future where Goodnight Nurse’s lead singer wins a Grammy. All that matters it that it’s 2004 and Danny Watson is in the “Taking Over” music video.

At the peak of his ponytail phase, he plays a suburban dad who’s off for a weekend away with the suburban mum. They leave their teenage daughter home alone. Will she enjoy a quiet weekend? Of course not. Her punk-arse mates in Goodnight Nurse will come over and throw a massive party.

Soon the band set up and a large number of partygoers show up at the door, including a pizza guy, nurses, a mime artist, and Martyn “Bomber” Bradbury. Yeah, pretty much everything you need for a bangin’ time.

Goodnight Nurse prove themselves capable of rocking the house, and it’s perhaps more effective to have a small living room full of people rocking to some punk-pop, rather than trying to fake it with an actual performance venue.

The music video based around a crazy house party is nothing new (Loves Ugly Children used the concept for “Sixpack”), but the trope pretty much demands some sort of payoff at the end. But disappointingly, we don’t get a return visit from Danny Watson. Instead there’s a generic morning-after shot involving one of the partygoers sneaking out. The only way that could be more boring is if we were shown the remaining party guests cleaning up.

Best bit: the awkward camera angle that makes Danny Watson’s daughter look more than a head taller than her him.

Director: Ivan Slavov
Ngā Taonga Sound & Vision

Next… the Luck bus.

Goldenhorse “Run Run Run”

Goldenhorse return with the first single of their second album, Riverhead. The song is a bit rockier than the band’s previous singles, but it still has the melody and the sweet lyrics the band became known for. But the star of the song is the layers of guitars, chiming and overlapping and threatening to dominate Kirsten Morrell’s vocals, but still managing to perfectly fit together.

The video puts the emphasis on the musicianship by shooting the band using lots of close-ups. It’s a similar technique to the Kitsch video for “Eleven:Eleven”, but while the punk dudes seemed like they were hiding from the camera, “Run Run Run” draws us into the world of Goldenhorse.

The camera provides wider shots as the video progresses, showing the band bathed in red light and Kirsten in a red dress. The band are pretty sedate in their performing, providing contrast to Kirsten’s tense movement. I like this. So many bands do an over-exaggerated kind of rocking out in music videos, but sometimes it can be more effective just to play your instruments like you would when you’re actually, er, playing your instruments.

Previous Goldenhorse videos have tended to be either enjoyable weird or very commercial. This one goes in a different direction with the way it very strongly works with the sound of the song itself. The song didn’t chart, but who cares when the video is a good one.

Best bit: Geoff Maddocks’ fierce strumming.

Director: Adam Jones
Ngā Taonga Sound & Vision

Next…

Fast Crew “The Incredible”

Fast Crew return to Britomart, and this time they’re in the old Masonic House, cast as a damaged, graffiti-strewn wreck. It looks great on camera. The corridors are packed full of the Crew and their friends and building seems to heave with the energy of the song.

By the way, I need to note these epic lyrics, a back and forth between Jerome and Rebecca. There are cooldude rappers who try to make threats in their lyrics, but B-Recka just lays it down.

Jerome: And if you critics don’t go back and start to pack your luggage, I’ll be coming for your girl.
Rebecca: And I’ll be coming for your husband.
Jerome: And that’s something kind of rugged.
Rebecca: Yo, I’m on my monthly.
Jerome: Jerome and B-Recka.
Both: This shit is getting ugly.

Anyway, back to the video. The whole building seems to be on the verge of falling apart, with big holes in the walls and the ceiling. It’s quite a nice record of just how grotty Britomart got before the developers came in and started fixing and fancying the place into much posher place it is today. In fact, the video is actually hosted on the YouTube account of the Britomart company – a proud reminder of how far they’ve come?

I have a friend who explored this building in the mid-’00s. Masonic House wasn’t just a name – he came across a room used by the Freemasons for their ceremonies, all pyramids and chequerboards. Now, that would have looked amazing in a music video. But the Fast Crew probably prefer a smashed-up old corridor. Even if it was set dressed for the video, that little piece of mid-’00s Britomart at its lowest is a fine thing to capture.

Next… the tension of the close-up.

Eight “Centre of Me”

There’s never been a consistant look and feel to Eight’s previous videos. “Whale” was like a short film, “Moments Gone” was goofy, “No Way to Decide” was serious, and now “Centre of Me” goes in an arty video direction.

The video begins with a pair of red theatre curtains hanging in the woods (filmed in Christchurch), very Twin Peaks. The curtains part to reveal lead singer Bruce performing in a dark room with some of that music video wallpaper. Then that wall behind him parts and there are the rest of the band. Super indoor-outdoor flow.

Then it’s back out to the woods where the band are lined up along a path, then the band also have a posing session on a big gold-coloured couch. By now it’s starting to seem like a roll call of music video tropes.

The video ends with the band in another room and they’re going all out to rock out for the video. No one just plays their instrument. Everyone is getting in there and putting a ton of energy into their performance. But it still feels like another music video trope.

The band’s music sounds like very mature, serious rock (helped by Bruce’s deep voice), and yet it’s obvious that band are relatively young. Eight’s videos seem torn between presenting their serious maturity that comes across in their music and the more youthful vigour of the band themselves.

Best bit: the cut between the woods and the couch, where a close-up of the drummer conceals the edit.

Director: Richard Bell
Ngā Taonga Sound & Vision

Next… a strange Masonic ritual.