“Guess Who’s Here” asks Alphrisk. The answer is Alphrisk. He’s joined by fellow Deceptikon Savage, and notes that the “Deceptikonz are going places”. There’s a live performance of the song on the short-lived New Zealand version of Top of the Pops.
Bennett “Stop Holding Us Back”
Bennett’s second and final funded video is the assertive “Stop Holding Us Back”.
The weirdest entry in the old NZ On Air database was funding for a Blindspott song called “Trevor Sue Me”. No song (or video) with this name exists, so I assume it’s a placeholder title. That raises the question: who was Trevor and how did he earn the ire of Blindspott?
Michael Murphy “How Good Does It Feel”
I’m not sure if a video was made for NZ Idol runner-up Michael Murphy’s second single “How Good Does It Feel”, but it’s on the list. If so, it was his one and only funded video. This seems like such a luxury – a reality show contestant being allowed to release an album full of original songs. Murph’s post-Idol solo career didn’t have a future, but he will later show up with his band 5star Fallout. (Bonus: long-term readers of my online oeuvre may wish to think back to #sodamncontroversial and laugh and laugh and laugh.)
Sommerset has the dramatically titled “Magdalene (Love Like a Holocaust)”, which sounds like the aftermath of a bad break-up. It was the final of Sommerset’s five funded videos.
The New Trends were a high school duo from Taradale. They were finalists in the 2004 Rockquest, the same year Incursa won and Kimbra was the runner-up. But they had their most success with the song “Five Minutes with You”, which placed second at the Play It Strange songwriting awards in 2004, including a performance of the song by Michael Murphy.
The consolation video for this month is a charity single. “Anchor Me”, the Mutton Birds’ nautical love song, was recorded by an all-star line-up to commemorate the 20th anniversary of the sole act of international terrorism in New Zealand.
On the Deepgrooves website, the page for this video described how the iconic record label decided to take all their video production in-house, after getting sick of being quoted exorbitant rates from music video directors who had their eyes on the $5000 NZ On Air grant.
“A Long Way to Climb” was shot at an alley next to Cafe Alba on Lorne Street, Auckland, just around the corner from Victoria Street. Alba was the setting for Sulata’s “Never” video, and apparently it was close to Deepgrooves HQ. The video is shot in black and white 16mm film, which makes the inner city location look music-video perfect.
It’s a gentle, folky song given an urban treatment. For another artist this juxtaposition might not work, but Jordan Reyne has that slightly unusual, gothic, urban style that works well with the video. Even city girls get the blues.
For much of the video, Jordan sit arounds in the alley, thinking of her lost love. Occasionally we get blue-tinted flashbacks of a shaven-headed young dude messing around in the alley.
The video is moody and mysterious. It doesn’t attempt to literally illustrate things, but does pick up on the tone of the song. And for a low-budget music video, it’s done a pretty good job.
Best bit: the mysterious metal object the dude holds up to his face. Whoa.
Note: This video is now no longer available online.
wiltThe jordanreyne YouTube account explains that this video involves “A rock band imitating Jordan and the instrumentalists that played on her album. This video is full of evil twins from a past everyone denies.” Whoa.
And indeed the song is played by a black-clad band, with a singer who looks like Jordan Reyne. Without this knowledge, though, the video would pass for a fairly standard music video for a female-fronted rock band. And indeed, the video uses filters to give the effects of video lines as well as jumpy editing. Very rock.
The only hint that something is up is the slightly folky tinge to the song. That makes it seem like the song is actually a traditional Celtic folk song that Jordan’s given a rock edge, but in doing so she has actually triggered an ancient curse that will turn her band into evil twins.
Or maybe the “evil twin” story explains why Jordan made such a conventional rock chick music video. It wasn’t her – it was her twin.
More business from Christchurch grunge unit Pumpkinhead. With a song called “Third Eye”, I would be extremely disappointed if the video didn’t include low-tech animated third eyes. Nga Taonga describes the video as “Pumpkinhead perform “Third Eye” in a yellow lunar setting and in a pub.”
Spurred on by popularity from the “Once Were Warriors” soundtrack, Southside of Bombay make a house record, with the highly danceable “Umbadada”. But Southside haven’t lost track of their reggae roots – the song has a message of unity and living forever.
In 1995 the Feelers won the prestigious South Island Battle of the Bands competition. Part of the prize included a single and music video released through Wildside. That song in question was “The Leaving”, with the music video directed by James and Matthew of the Feelers and camera by future Feelers music video director David Reid. The song obviously didn’t have the impact of later single “Pressure Man”, but it was included as a track on the band’s debut album.
Wonderkind have “Destiny Change”, an upbeat dance song about a teen prostitute. There was a lot of that in the ’90s – upbeat dance music about really depressing social issues. Here’s a very 1997 remix of the song.
Another track from Hamilton songstress Jacqui Keelan Davey, this time with “Watching Me Drown”.
Maree Sheehan “Might As Well Shout”
The Kiwi Hit Disc described “Might As Well Shout” as a “fast-paced, catchy dancefloor number”. It features backing vocals from expats Mark Williams and Australian Idol vocal coach Erana Clark.
Papa “For What It’s Worth”
This is pretty much impossible to Google (it’s not a unique song title). I don’t know who Papa was, but it might be related to the record label, Papa Pacific.
Meanwhile in the world of non-NZOA-funded videos we find “Manic (Is a State of Mind)”, the first music single from Jan Hellriegel’s second album. Filmed in Sydney, it takes place in a gloriously garishly painted art deco house (not a visual effect, the YouTube description notes!), and features a very sinister looking cafe fridge.