Critical analysis of a digital artifact

Foo Fighter's music video for "Everlong"

The motivation behind the American alternative rock bands hit “Everlong" was the blossoming of a new relationship front man Dave Grohl was forming as his first marriage was dissolving (Hoeven, 2014). The lyrics are organically about falling in love, yet the power forges from the chorus which features the songs most nakedly emotional lyric, appearing as the guitars are at their pinnacle in volume and strength. Grohl sings “And I wonder / “When I sing along with you / If everything could ever feel this way forever / If anything could ever be this good again.” Grohl sings of the lack of knowledge for the unseeable future and presence of great love, yet fragile love. The nostalgia is evident for most listeners as they are likely to recall what they had in their own personal relationships at it’s most potent, before it is taken from them.

The music video for “Everlong” was nominated for Best Rock Video at the 1998 MTV Video Music Awards. “Everlong” is the second single released from the Foo Fighters’ second album The Colour And The Shape, released in 1997. The surreal, satirical music video was directed by Michael Gondry. The running time exceeds that of the original version of the song; this version is utilised only for the music video.

The mise-en-scene of this video reveals how different personalities were portrayed within society at the time (1995). This is shown through the use of costume and props as people are seen be wearing leather jackets, suits, polo shirts and futuristic outfits. The lighting within the video is also paramount in creating a sense of meaning. Throughout the duration of the video, the lighting is often artificial in order to display characteristics of the protagonists or antagonists, such as the use of darker lighting when the antagonist is shown and brighter lighting when the protagonist is depicted.

The initial 25 seconds of the video is a roaming, monochrome view of a quiet night. The songs hushed instrumental sounds ad the camera shifts into the a cabin where the protagonist, Foo Fighters frontman Dave Grohl, is asleep. The camera zooms into his forehead whilst the screen fades into colour as the viewer enters Grohl’s dream. At this point in the narrative, the viewer unconsciously understands that they are viewing the world from Grohl’s perspective. During the progression of the first verse, Grohl saves a girl from a band of thugs at a house party by slapping them repeatedly with his oversized hands that grow due to the agency given to Grohl within the parameters of his own dream state. In the second verse Grohl repeats his heroic acts within a log cabin. The cabin it’s self is a homage to the setting from The Evil Dead. In the songs triumphant chorus the viewer is returned to Grohl’s bedroom where he and his bandmates shed the costumes they were wearing, instruments appear and they begin to jam until the song draws to a close.

The use of the monochrome colour scheme is to portray reality, instead of a dream state. There is more vibrancy and colour in dreams to represent the unleashing of ones imagination and the agency that dreams supply. Reality lacks this imagination, therefore it is presented as bleak, bland and a bore. It could also be considered that the use of a black and white colour scheme is used to connote the horrific undertones as this music video is essentially a parody of renowned horror film, “The Evil Dead”. The merging of horror and rock would result in the attraction of a larger fan base.

The Evil Dead, directed by Sam Rami was a cult horror classic following the narrative of a group of friends who spend the weekend in a cabin only to be attacked by zombies. The horror spoof that is the music video is a perfect match for the song’s grungy, melancholy, nostalgic tone. Watching the music video serves as a cathartic kind of experience for many, simultaneously invigorating and calming. The perfect marriage between the tone of the video and the songs tone is a key component to the evident success of the music video.

Rock and horror cinema, which have now enjoyed a mutually beneficial partnership for a half a century, seem to be cut from the same unholy, blackened cloth. Rock as it is today, especially metal rock, wouldn't exist had the likes of Hammer Films and 1960’s European horror not been there to provide vital thematic and aesthetic inspiration at the beginning (Bennett 2009). The dimly lit castles, satanic allusions and ludicrous camp all fed into the look and feel of the genres early champions. The rise of Sabbath and their peers raised minor alarm among Christian groups throughout metals formative years.

During the mid-80s the genre evolved from the minor background nuisance into full-on societal menace. Satanic panic spread and dispersed throughout the United states and Tipper Gore’s Parents Music Resource Centre committee and their “Filthy 15” list (best known for the introduction of the Parental Advisory logo) brought the often led and violent nature of rock lyrics to media attention. Drawing on horror aesthetics, genre defining rock bands earned forbidden fruit status among American teenagers seeking dangerous, edgy escape from the mundanity of suburban life (Wagner & Stephan, 2008).

From the almost childish cartoons, to the scene where Grohl clambers over a massive telephone, to the collapsing of Grohl’s bed to reveal a drum kit, the video takes the viewer to another reality where the conventional laws of our world don't necessarily apply. This otherworldly style is befitting of a pensive ode to a blossoming romance. Demonstrating to the viewer in great subtlety that the beginning of love is comparative to exisiting in another planet or world.

The videos viewer satisfaction is drawn from the connection established between the viewer and the protagonist. Because we feel like were right there with Grohl, the viewer experiences the victories that Grohl faces against the cartoonish bad guys with all the more severity. The peaks and valleys of the music video also follow the songs contours to the chord. The quiet, tense B-minor verses accompany Grohl’s struggles and his girlfriends peril. While the jubilant D-major choruses play as he defeats the bad do-ers and jams with his bandmates.

By the combination of corniness, surrealism and genuine emotion, the music video to “Everlong” is a perfect match for the song. The campy visual style and sets that don't appear remotely realistic balance perfectly with the adolescent sincerity of the song and Dave Grohl’s genuine emotion at the end of the video. In short, the video is timeless and will provide solace for angsty teenagers for many future generations to come.

Hoeven, A. D. (2014) Remembering the popular music of the 1990s: Dance music and the cultural meanings of decade-based nostalgia. International Journal of Heritage Studies, 20(3), 316-330.

Bennett, A. (2009) Rock music, representation and heritage discourse. Heritage rock, 37(5), 474-489.

Wagner, C., & Stephan, E. (2008). Left of the Dial: Music Reference Services Quarterly. An Introduction to Underground Rock 1980-2000, 9(4), 43-75.