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With a combined knowledge of three chords on the guitar they set about jamming out. Unfortunately the Australians didn’t appreciate the show like they had in New Zealand and the season was cancelled after one week.In 1998 Bret and Jemaine decided to start a band. The group couldn’t believe they were being paid to perform and Bret blew his entire first pay cheque on a pair of leather pants. They performed to sell out audiences in Wellington and Auckland, and were then invited to perform at the Melbourne International Comedy Festival.They flew to Australia for a one month season at a Melbourne’s comedy club called The Last Laugh.
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They wore nothing but skin coloured bike shorts giving the audience the illusion that they were naked.From that short vignette the group of five developed another pseudo nude show called So, You’re A Man.
The most memorable part of the show was the costumes. Bret and Jemaine were put in a group of five men to create a short theatrical piece about male body issues. They were both acting in a University Drama Club production called Body Play. Bret doesn’t remember meeting Jemaine, but says it was unforgettable. Jemaine vividly remembers the first time he met Bret “he was wearing a hat”. It’s comedy that’s actually pleasant, which is a blessed change of pace.Bret and Jemaine first met in 1996 at Victoria University Wellington. Conchords is a weird, low-high-concept series. Even Jemaine’s rap persona, Hiphopopotamus, keeps his lyrics clean and helpful: ”I’m not a large, water-dwelling mammal,” he explains in one rhyme. In one episode, Bret becomes fixated on making a helmet that looks like hair in another Jemaine gets dumped and swears he’s emotionless: ”I’m not crying, it’s just been raining…on my face.” Throughout, the two actors maintain a dry naïveté which works especially well when the show prods at the stereotype of well-mannered New Zealanders. Show), Conchords is roomily written, with a sketch-show feel. Executive-produced by James Bobin ( Da Ali G Show) and Troy Miller ( Mr. When Jemaine meets a girl at a party, he croons: ”You’re so beautiful/Like a tree, or a high-class prostitute/You could be a part-time model/But you’d probably still have to keep your normal job.” The songs are catchy, and lined with slippery lyrics that will make you rewind. In this case, the winks come in the form of impromptu songs, filmed like cheap ’80s videos and packed with perfectly ridiculous lyrics.
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Perhaps what Conchords most closely resembles is the now-defunct Comedy Central series Stella, with its three men-children inhabiting their own strange world, giving the occasional wink at the camera.
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The series - spawned by HBO after the duo’s hilarious 2005 One Night Stand ”concert” - has the chilly aesthetics of a Wes Anderson movie and the oddball hangers-on of Pee-wee’s Big Adventure (the freakishly doting Mel could be Dotty’s cousin). It could be a theme for Conchords, which isn’t trying to be edgy comedy: There are no big sociopolitical statements here, no guerilla-style confrontations, no scenes of squirmy awkwardness, no multilayered pop culture references. On Murray’s wall is a tourism poster for his home country that reads: Don’t Expect Too Much - You Will Love It.
They’ve acquired one obsessed fan, Mel ( Human Giant‘s Kristen Schaal), and a semicompetent manager, Murray (Rhys Darby), who also happens to work at New Zealand’s consulate. Bret and Jemaine have self-centered souls, childlike reasoning skills, and songs about diseased monkeys. Underacted, underproduced, understated, and underground in tone, Conchords features writer-actors Bret McKenzie and Jemaine Clement playing dimmer (one hopes) versions of themselves, as they attempt to break into the New York music scene.
HBO’s new comedy series, Flight of the Conchords, which follows the exploits of ”New Zealand’s fourth most popular folk parody duo,” is a simple bit of joy.
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