To give both sides (or maybe even three) of the album different names would be something I'd like to do, CREATIVITY. UPDATE: Can be like two parts of the dystopian world, could be three disks, the more melancholic, opening of the narrative, the more glam rock, celebratory, decadent second part with Can't Get Enough on it and the really dark third and final part.
Have the cover of the single in the overall album artwork.
PEOPLE WITH EPILEPSY STAY CLEAR OF THE IVY LEVAN VIDEOS
VERY SHORT TAKES
SUEDE FILMSTAR Mainly a performance video set in a live gig, then a series of short takes edited to the music With white flashes IVY LEVAN After the title appearing for a second, we get nine seconds of numerous short takes:, including a flash forwards. of the severed hand and burying the body parts.
A SINGLE LONG TAKE SPED UP SUEDE ANIMAL NITRATE Using a handheld camera presumably, now you'd use a GoPro. DEPECHE MODE STRANGELOVE THE SMITHS THE QUEEN IS DEAD SHORT FILM FILM EXAMPLES A Clockwork Orange, Alex takes the two girls home. FLASHING
Beyond its elucidation and critique of traditional ‘notation-centric’ musicology, this book's primary emphasis is on the negotiation and construction of meaning within the extended musical multimedia works of the classic British group Pink Floyd. Encompassing the concept albums that the group released from 1973 to 1983, during Roger Waters’ final period with the band, chapters are devoted to Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut(1983), along with Waters’ third solo album Amused to Death (1993). This book's analysis of album covers, lyrics, music and film makes use of techniques of literary and film criticism, while employing the combined lenses of musical hermeneutics and discourse analysis, so as to illustrate how sonic and musical information contribute to listeners’ interpretations of the discerning messages of these monumental musical artifacts. Ultimately, it demonstrates how their words, sounds, and images work together in order to communicate one fundamental concern, which—to paraphrase the music journalist Karl Dallas—is to affirm human values against everything in life that should conspire against them
The best concept records still have fabulous singles. There is a reason that people know ‘Juicy’ by the Notorious BIG, ‘Mercy Mercy Me’ by Marvin Gaye, or ‘Ziggy Stardust’ by David Bowiedespite maybe never hearing the full albums that feature them. Those singles alone are strong enough that even someone with just a casual knowledge of the albums they come from, can’t deny the talent that is behind them. The same could be said for ‘B__ch, Don’t Kill My Vibe’ or ‘Swimming Pools (Drank)’ from Kendrick Lamar’s major-label debut, Good Kid, mAAd City. It’s been five years since the release of Good Kid, mAAd City, and the album not only holds a place in the hip-hop cannon but it shifted the culture. It’s even been incorporated into the curriculum in several universities. The Good Kid, mAAd City cover art features a childhood Polaroid of Kendrick with his uncles and grandfather. There is a baby bottle, a 40-oz bottle and one uncle is flashing a gang sign. In the background is a picture on the wall featuring Kendrick and his father. Everyone’s eyes are blacked out. Speaking on the cover art, Lamar says, “That photo says so much about my life, and about how I was raised in Compton, and the things I've seen, just through them innocent eyes. You don't see nobody else's eyes, but you see my eyes are innocent, and tryna figure out what is goin' on.” The title on the cover also reads: “a short film by Kendrick Lamar”. This is not an accident. Good Kid, mAAd City is cinematic and tells a gripping specific narrative. It’s a day in the life of the protagonist, K Dot, as he becomes Kendrick Lamar and in it, hooks up with his girl, robs a house, and goes through misadventures, which makes him question hood politics.
IMPACT OF DIGITISATION: Audiences listen less and less to full albums, this was started through the CD player where you can jump to tunes, with the vinyl you could move the player but not to precise moments and you risked damaging the record. The advent of iTunes brought mass consumption, digital disruption, basically killing the album. Pink Floyd wanted to avoid their concept albums with a single flow to be played randomly, so they engaged in a court battle, but they eventually gave in, read more in this Guardian article:
The band's decision to offer fragments of their famous concept albums for 99p each on iTunes is likely to disappoint prog rock purists who applauded their stand against EMI. During March's legal battle, lawyers for the band told a high court judge the tracks that made up Pink Floyd's seminal albums could not be unbundled and sold as individual downloads. Robert Howe QC told the court it would have been "a very odd result" if band members were able to control how their music was sold in its physical form, but there was "a free-for-all with no limitation on online distribution". The judge eventually sided with the band, telling the label it had to adhere to a clause in its contract with the group intended to "preserve the artistic integrity of the albums". He also ordered EMI to pay Pink Floyd's costs.
Now due to Spotify albums are less and less listened to in their entirety in one setting, however Brett Anderson in this interview thinks the concept album still has a loyal, strong following:
A Telegraph review of Night Thoughts and how the film and album together form a the concept of a narrative:
Playing behind a huge screen, Suede projected a film directed by Roger Sargent and written by Stephanie de Giorgio, with each narrative element operating as an enclosed promo to a particular song, whilst the whole built up to a dark and dramatic tale of love and despair.Perhaps because of its origins in the psychedelic pomp of the Sixties, the very concept of a concept albums tends to suggest florid excesses but Suede’s Night Thoughts essayed a grungy, trashy, kitchen-sink tone in keeping with their own origins as council estate aesthetes. Let’s put it this way, I don’t think I have ever seen so much vomiting in a music promo. It is probably not for everyone, involving psychological breakdown, murder and suicide, shot with a kind of Nan Goldin style low-life veracity. But songs and images worked in powerful conjunction, so each threw inner light on the other.
I ended up creating a YouTube channel for my band, and created a short teaser trailer of the lead singer singing
POSSIBLE POINTS OF INFLUENCE:
With the current working title of the album The City, the trailer could be Shots of the city (I'd briefly film all the landscape shots of the digipak as well). Similar to the diegetic intro of Kendrick Lamar's Alright, and then the chorus of The Big Time plays.
Next to some teaser trailers for the video, have a different short trailer of 10-15 seconds with footage of my main video and ending with artwork of the digital like u can see below
In the opening of this three-part documentary, presenter Mark Radcliffe asks what is indie and names three possibilities:
Is it a genre of music generally accepted to involve noisy guitars?
Is it a business model, smaller companies not beholden to major corperations?
Is it a state of mind.
One thing he said was clear was:
the sense of rebellion.
40 years ago, the major companies hat complete control of the labels. Tbc.... Koop defines it as this:
A genre of alternative rock that primarily exists in the indie underground music scene. The term is sometimes used interchangeably with indie music as a whole, though more specifically implies that the music meets the criteria of being rock, as opposed to indie pop or other possible matchups. These criteria vary from an emphasis on rock instrumentation (electric guitars, bass guitar, live drums, and vocals) to more abstract (and debatable) rockist constructions of authenticity.
Four bands help bring it into commercial success: The Strokes, The Hives, The White Stripes, The Vines
his is there definition of alternative:
Coined in the early 1980s, the term "alternative rock" or "alternative music" was used to describe music that didn't fit into mainstream genres of the time. Alternative styles include indie, post-punk, hardcore punk, gothic rock, college rock and new wave bands.
To do: *Ask music teacher at school, and if possible old music teacher Mr.Riley*
Question I should ask myself: Is my music promo package targeted at a particular subculture? If so, how am I going to address the various demands of this particular subculture, whether in terms of ideological messages or through the ways in which they present their collective identity in terms of behaviour, location and costume or even in stylistic terms? If I am going to use the androgynous image that Suede used, then you could argue I am targeting artists and people who dress like that (Grayson Perry) Though in 2017, how far has gender fluidity come into the mainstream, how strong is the hegemony still? Halsey certainly seems to think it has made improvements, talking of a "socially aware narrative".
Floating somewhere between advertisement, video art and short film, the genre is a little tricky to pin down.
Dan Miller challenges that the track dominates the video, so goes against Vernallis's theory:
YouTube views do not necessarily
translate into song sales. We should ask ourselves: are all Music Videos made to advertise a
song? Music Video is much more than just an advertisement for a popular song – the way we
define Music Video has not kept pace with the genre‟s evolution.
He states we shouldn't ignore:
The abstraction, motion graphics and experimental nature of many music videos - both old and new.
Goes on to link the history of the development of the music video:
*To be added*
The decline of the monopoly of MTV due to digital disruption. (link to Exam Q1a Digital Technology, this gives me more freedom, I am part of the rise of the independent producers)
There has always been a tenuous relationship between Music Videos and record
companies. The record company argument is typically “why should we fund something we
can‟t directly make any money from?”.... Most unfortunately for the record
companies, technological change has brought a solution to their problem they may not like.
Better and cheaper home computers, software, sound and video equipment have seen a rise in
independent producers who can now create professional-looking and sounding songs and
Music Videos without record company money. (That's me!!!!!)
Software and internet sites like iTunes,
launched in 2001 and YouTube, 2005, have had a democratising effect on the digital media
industry (MIT, 2010). Music Videos can now turn a profit themselves through advertising-supported models. Severing contracts with record companies, bands such as Radiohead and
Nine Inch Nails can “finally have a direct relationship with the audience as [they] see fit and
appropriate” (Reznor, 2007). Damian Kulash Jr., lead singer of the band Ok Go, highlights
that music revenue models are changing and that a large portion of that band‟s income is now
generated through sponsorship and advertising in the creation and online viewing of the
music videos themselves – as opposed to song sales (2011). In fact, Ok Go „ditched their
label‟ after a stoush with them over YouTube embedding rights (Nosowitz, 2010).
In contrast to the Cambridge definition, it could be argued that some Music Videos are not designed to
advertise a song, but to stand as works of art in their own right. As YouTube continues to
champion viral media in the form of videos designed to promote themselves, the internet may
be killing the TV star and the MTV era may be over.
That last sentence was a reference to the ironic coincidence(?) that the first music video aired by MTV was "Video Killed The Radio Star", in that case music was being threatened by a visual disruption., and now TV is being threatened by the online digital disruption.
SINGLE?: Yes, second one, released six weeks after the album
CONTEXT/BAND’S CURRENT SITUATION
Suede are an alternative
rock band, formed in 1989. This is undoubtedly their signature track, having
the most clicks on Spotify. A single from their third album, this is when
according to Anderson Suede were taking a more commercial direction into pop
music away from the art and glam rock.
SYPNOSIS:
A constant cross-cut
between performance
and literal
representation of the lyrics in the form of vignettes, which is divided in black + white and colour respectively.
REPRESENTATION OF THE BAND
The camera movement subtlety gives
Brett Anderson's , the lead vocalist, entrance is of importance, as he
suddenly walks into the frame after the camera has moved to reveal one new
member after a time, even now when I’m awaiting his entrance he’s suddenly
there without me having known it was going to be exactly then.
Following on from that we
get regular lip-synching from Anderson for the large majority of the
performance. Goodwin's star image.
INTRO + OUTRO
The from 3’50 to 3’19, with
30 seconds of the Lalalalala having been cut off. but there are no extra sounds
or silences
added. The video starts with a fade-in from black, (from one band member in MS
to MLS)
and ends with a fade-out
to black. (the whole band in ELS)
RELATIONSHIP OF LYRICS + VISUALS:
There is a direct representation of the lyrics, in both visual sense and that they are titled, so in a way it is a lyric video.
AUDIENCE REPRESENTED/TARGETED?
We have some adolescents/20somethings people, linking to the image of youthful rebellion.
