UPDATED: Bad Sounds- 'Avalanche' | Lyrics- BEN RODWELL

To start with I annotated the lyrics in a power point with potential meanings and rough ideas for how they could be developed in to my music video.

The lyrics of the song are quite abstract and quirky and don't necessarily tell a strict story. As a result of this the music video can not follow directly the lyrics. Instead taking aspects outlined in the lyrics and implying in the video will be more effective. The first line "Joe stayed in with dad and watched something about a time some people got themselves caught in an avalanche" could provide the setting for the first scene. It depicts a scene where someone is staying inside their own house watching TV. This could be an effective opening scene for our music video. In addition the use of the word 'avalanche' as well as its use as the songs title highlight its significance so incorporating some kind of visual reference to avalanche would work well.

The chorus of the song doesn't depict any kind of story but instead an emotional situation: someone trying and failing to improve themselves. Our music video could incorporate some kind of failed self improvement as a reference to this. The second two verses are similar to the first in that they roughly outline a new character and a vague story line. However as the lyrics and the song as a whole are quirky and not necessarily focused around telling a story, having lyrics that "enhance and amplify" them (Andrew Goodwin) would work effectively. Throughout the music video, new characters could be introduced fitting with the introduction of "Julie" and "Pete".

Contacting Artist for Permission- BEN RODWELL

The song we have chosen is 'Avalanche' by Bad Sounds. As the band is a young, modern band we chose to message them on Facebook as it was clear they responded quickly on this site. The responded saying they were happy for us to use their song as long as we made it clear it was an unofficial, 'fan' video.

Mind map of initial ideas- BEN RODWELL

Song Possibilities- BEN RODWELL

To start our search we decided what genre of music our song would be. We wanted something slightly quirky and alternative as we felt this gave us a wide range of options for the music video however the structure and conventions Pop and Rock music videos have is useful in actually creating ideas. Therefore we decided the genre of our song should be slightly alternative Pop or Rock. After much research we found 4 possible songs:

• 'Avalanche' by Bad Sounds
• 'Dead by Summer' by 20 Cent Dreams
• 'Foule' by Waste
• 'SOIA' by Strange Bones

Having shortlisted these songs we created a web diagram that clearly highlighted each songs strengths and weaknesses in relation to aspects of a successful music video song. These included: different chapters in the song, good quality recording, interesting lyrics, broad genre and dynamic music. By doing this it was easy to visualise each songs strengths and furthermore help us decide on the best song.

• Pink- 'Avalanche'
• Blue- 'SOIA'
• Orange- 'Dead by Summer'
• Green- 'Foule'

Avalanche

Strengths

• Very distinct beat
• Very high quality recording
• It's an interesting, quirky genre
• Interesting, narrative lyrics

weaknesses

• Not the most dynamic song- virtually all one volume and intensity
• There are different chapters but they're not as clear cut as other music videos

SOIA

Strengths

• Very distinct beat, excellent to cut to
• high quality recording
• There are different chapters to the song
• Fairly broad and hybrid genre

Weaknesses

• There aren't many highly distinctive or iconic lyrics
• The song isn't as dynamic as others

Dead By Summer

Strengths

• Clear and distinct chapters
• Dynamic changes throughout
• Clear beat
• Good quality recording

Weaknesses

• Lack of iconic and distinctive lyrics
• fairly narrow genre

Foule

Strengths

• Distinct beat
• Clear sections and chapters to the song
• Distinct lyrics

Weaknesses 

• Mediocre recording quality
• Quite narrow genre

In conclusion we decided to go with 'Avalanche' by Bad Sounds. The distinct beat, alternative,broad genre and iconic narrative lyrics meant that we had a lot of inspiration and ability to experiment with our music video. Whilst it wasn't the most dynamic of songs there were clear chapters and the distinctiveness of the lyrics helped define these chapters. A narrative can clearly be seen in the lyrics and this is very useful when brainstorming ideas for the music video.

Music Video Mood Board- BEN RODWELL, TOM HUNTER, ANTON GODDARD, RUTH COBO

Case Study: Applying Andrew Goodwin’s theory of music videos- BEN RODWELL

Many of Andrew Goodwin's theory's about music videos are present in the video for 'Grape Vine Fires' by Death Cab For Cutie.

For instance there is a clear relationship between the lyrics of the song and the music video visuals. This helps enforce and amplify the lyrics as it enhances them with visuals. For instance in the first chorus of the song where the line "before we all burn" is repeated the audience are shown images of paper like scenes catching fire. By doing this the lyrics are made more prominent and furthermore the music video as a whole is made more relevant to it's song. This theory is demonstrated again later in the music video. As the lyrics "Watched the plumes paint the sky grey" are sang, there is a shot of a sky filling with dark grey smoke. By using visuals that mirror the song, the lyrics are enhanced and reinforced to the audience. It creates a cohesive and relevant music video which is beneficial for the audience. In addition to this, the downbeat, solemn tone of the music video is emphasised by using visuals which mirror the lyrics and furthermore the meaning of the song itself.

As the visuals reflecting and amplifying the lyrics, the same is true for the relationship between the video and the music itself. The structure of the song is mirrored through the structure of the music video; throughout the first two verses and choruses the song slowly builds and the music video follows suit giving the audience an idea of the story of the video. However when the middle 8 section of the song begins (at around 2.20) the protagonist is seen to physically turn a corner on his bike. This is symbolic of the story of the video progressing and moving along. While the lyrics of the song are mirrored in the video, the opposite is apparent in the relationship between the music and the visuals; they contradict. As the music lowers in intensity (fewer instruments play and the emphasis is placed wholly on the vocals) the visuals reach a climax; the protagonist’s brother’s partner is burnt to death. By having the music lower in intensity whilst the visuals reach their peak, it makes the visuals even more powerful and emotional. The middle 8 section of the song uses a different chord progression symbolising the change in intensity the visuals portray. After this section the music reaches its peak and the visuals mirror this showing scenes of rampant fire and the protagonist’s family’s desperate attempt to escape. By experimenting with the visual-music relationship the video pulls the audiences focus around making parts such as the death of the girl seem intense and emotional. This supports Goodwin’s theory

Finally Goodwin states that “there is frequently reference to notion of looking”. This is apparent throughout one of the main themes of the music video. The video starts with a photo in a frame of the protagonist which comes to life as the video progresses. As the video continues this theme is repeated several times; photos in frames coming to life and continuing the story. Often the photos represent better times away from the all-consuming fire. They are used as a metaphor for memories  and this is apparent at the end of the video where the main character returns to the fire to save photos of his brother and his partner. While in more conventional music videos this “notion of looking” is represented through screens, telescopes or glasses this music video, fitting with the paper-like aesthetic, using hand drawn photographs. Furthermore the repeated use of this technique gives a “screen with in a screen” style which is commonly used in music videos. By doing this it relates to the audience as they feel as well as them looking in on this video, the character of the video themselves are too; the audience feels related to.

In conclusion ‘Grape Vine Fires’ by Death Cab For Cutie demonstrates a number of Andrew Goodwin’s theory’s. The visuals both mirror and contradict the music and the lyrics of the song at different points pulling the audiences focus. As well as this the typical convention of music videos incorporating screens is used in this video however in a slightly more alternative way.

UPDATED: Case Study: How do these videos use genre characteristics and conventions?- BEN RODWELL

Three Rock music videos- 'The Weekend' by Modern Baseball, 'Say It Ain't So' by Weezer, 'Deadly Lethal Ninja Assassin' by Reuben


One the most conventional features of any Rock video is a performance of some kind. Where as in other genres such as Electronica or boy bands the focus is either on how the crowd interact with the music or the members of the band itself, the genre of Rock is based around real, physical instruments being played by musicians and so the music video of this genre reflects this. In all three videos footage of a live performance of the band playing the track is used. Not only does this link to the genre's focus on real musicians playing instruments but it also provides the audience with an idea of how the band perform live thus advertising the band by encouraging viewers to go and see them play at a show. A performance helps to excite and engage with the audience as it isn't something that is used exclusively with all other genres and furthermore helps create an effective video. Additionally a performance allows the band members to portray how much passion they feel when the play the music. This can be seen in all three music videos- band members moving with the beat of the music and singers singing with passionate looks on their faces. By doing this it portrays the band as being passionate and genuine in reagrds to their music and furthermore helps to sell the band.

Over time Rock videos have evolved and changed and furthermore conventions and characteristics of the rock music video have also changed. Where as in the 60s-80s,  Rock bands and their members were portrayed as extremely powerful and typically different to their audiences in their videos, in many modern Rock videos the opposite is apparent; producers want the band to seem as ordinary as possible so people identify with the band. This 'ordinarification' of Rock bands and their members is clear in all three of these music videos but is most apparent in 'Say It Ain't So' by Weezer. The mise en scene of the music video creates this average tone. All the members are dressed in very common, casual outfits (clothes the everyday person could easily have), the music video seems to be set in an ordinary, slightly messy   kitchen (hence someone taking something out of the fridge mid-video) and the actions of band members -such as the lead singer scratching his eye during a shot- are very natural and relaxed. By doing this the band are portrayed as ordinary, average people and s a consequence are seen as very relatable. Furthermore this promotes and sells them making the music video effective.

In all three videos, conventional music video editing techniques and camera movement are used to convey an energetic and passionate tone. In almost every genre of music video, quick, synchronised cutting between shots is used to both convey a sense of movement and energy in the video but also to hold the audiences attention. The genre of rock is no different and this quick cutting to the beat of the track is used throughout all three videos. The movement of the camera in the videos is also conventional for Rock videos. By using a mixture of panning, dolly and handheld shots, each music video incorporates movement in its shots. Rock videos typically do this to both tell the viewer that the band is wild, energetic and fun but also to emulate a show, helping to sell the bands live performances. These techniques are especially clear in the video for 'The Weekend' by Modern Baseball. Almost every shot is dynamic in some way, either through controlled panning or dolly shots or through the use of handheld cameras. This links to the songs upbeat and active tone as it portrays movement thoroughly throughout the video. By using camera movement and editing to create a vibrant, dynamic tone in music videos it helps to sell the band as an exciting, enjoyable act.

The Modern Baseball and Weezer videos focus on the alienation and 'geekiness' of the band members to appeal to their target audience. By making the members of the band appear as ordinary and almost nerdy as possible, teenagers (the target audience) will relate to them and feel they can connect with them. For instance the ordinary clothing and everyday location used in the Weezer video makes them seem like a group of normal people. Combine this with a man going about his washing in the background the performance adds a sense of reality. As well as this there is an aspirational aspect to the performance. By making the band members seem like ordinary people, audiences will start aspiring to be like the performers and play in bands such as in Weezer or have great parties such as in the Modern Baseball video.

As a whole, the three videos I chose use conventional techniques and aspects of other modern rock videos. The reason for this could be explained by Andrew Goodwin who stated that "Music videos demonstrate genre characteristics". Furthermore the videos I chose met these conventional aspects as they help portray modern Rock as a whole. for instance there was performance in all of three videos because Rock performers play instruments live on stage, the mise en scene in the videos portrayed the  members as ordinary people because that's the aesthetic of modern rock bands and conventional editing and camera movement is used to emulate the energetic real life performances of these bands. Andrew Goodwin also stated that "The demands of the record label will include the need for lots of close ups of the artist" meaning that close ups are used to give a clear, unmissable advertisement of the band. This is true throughout all three music videos. Close ups and extreme close ups of band members -especially lead singers- faces are used to clearly advertise the band to potential customers. Music Videos in essence are simply devices used to help promote and sell music and so devices such as closeups are almost always used.