I've finally gotten round to doing my write-up so apologies for the delay. Here's the video with my review:
We already saw the intro of this from the teaser so now we get the full thing. Adam lives in a gloomy colourless dystopian facility where everything is uniform and linear apart from the slaves that inhabit it. But even they move like robots, living a regimented existence of repetition and living off a diet of pills. Adam is the only one who seems to have had enough to want to rebel, crushing one of his sustenance pills that in turn releases an intense burst of blue smoke.
Part of the routine is to go to individual pods where it seems like the drones are being programmed and their eyes all turn black. Apart from Adam of course, who seems to be immune. Some of the shots there make his mouth look huge. The slaves start scrubbing the floors in synch and it's then that Adam decides he's had enough, starting off a chain reaction as everyone else leaves their chores to dance and make an escape by heading underground. The guards at the perimeter fence start blowing smoke at Adam and his gang, but they're protected by a forcefield which turns the smoke into vivid colours. The guards get scared and back off and that's when the rave begins and everyone's dancing away with choreographed moves in brilliant acid colours.
I think this is Adam's best video to date and very entertaining to watch. From the teaser I was expecting more of a story as it looked so cinematic but it's not very long. It's a shock to see Adam in such bright colours but he looks fabulous throughout. I do particularly like that bare fresh-faced look when he's in the pod. The euphoric dance part reminds me a bit of the IIHY music video but this is a more sophisticated effort.
I think this is a reflection of real life, an interpretation of the way many people just exist by drifting along, doing their 9-to-5s, lives mapped out and going with the flow of expectation. They are slaves to the rat race, never really opening their eyes and minds to the multitude of possibilities out there that could release their true potential. It just takes a bit of bravery (or Adam leading the charge) to break out of the comfort zone and do something different, the rewards of which could be transcendent. I wonder just how many eyes Adam has opened.
Showing posts with label Music Video. Show all posts
Showing posts with label Music Video. Show all posts
Tuesday, 29 May 2012
Sunday, 20 May 2012
Never Close Our Eyes - Video Teaser
Adam tweeted out a little preview of his upcoming music video for NCOE. We know how much he enjoys this part of making music so I'm sure he couldn't wait to share it with us:
It's only 17 seconds long but that 17 seconds of a rapid burst of scenes tells us a lot. It's set in sci-fi dystopia where Adam appears to be a prisoner living a regimented minimalist existence under constant surveillance. I wonder whether the pills are an escape, a necessity or a punishment. I like the colours and the sounds. It's the most cinematic of his music videos so far and I can't wait to see the whole story unfold. This is the type of video that I'd been hoping for since day one, something that works as a standalone piece of entertainment we'd keep going back to watch.
It's only 17 seconds long but that 17 seconds of a rapid burst of scenes tells us a lot. It's set in sci-fi dystopia where Adam appears to be a prisoner living a regimented minimalist existence under constant surveillance. I wonder whether the pills are an escape, a necessity or a punishment. I like the colours and the sounds. It's the most cinematic of his music videos so far and I can't wait to see the whole story unfold. This is the type of video that I'd been hoping for since day one, something that works as a standalone piece of entertainment we'd keep going back to watch.
Saturday, 4 February 2012
BTIKM Music Video
Today, Adam's music video for Better Than I Know Myself was finally unveiled. We'd had a preview and a yellow-eyed still beforehand so we had an idea of what was in store for us, that the twist in the video was going to be Adam reconciling opposing sides of himself rather than singing to a partner.
The flickering gives it a home video feel where we're peering in on his private life through a letterbox aperture. The light and dark duality theme of the album pervades the video with two neighbouring rooms separated by a mirror/window. On either side we have evil hell-raising vampire Adam and cherubic cuddly domesticated Adam. We see the characters act out their separate parts, in a dark versus light, negative versus positive, masked versus bare, hard versus soft, stormy versus calm, action versus contemplation, destructive versus constructive, cold versus warm battle.
As Evil Adam increasingly acts up in a temper tantrum and starts to disturb Good Adam from his Zen, Good Adam tries to help but is frustrated that his efforts are thrown back at him, finally leaving it up to Evil Adam who then sets fire to the place in a self-destructive rage, depriving him of his life-force. It's only he who can save himself from himself, which he eventually does.
In the end, it says to me the power to be who we want to be is in our own hands, that people aren't black and white but have elements of both as depicted by Adam's in-between look with different coloured eyes (nod to Bowie? Also note the Trespassing visual reference as he passes the striped warning tape on the wire fence). This could personally apply to Adam the performer and Adam the person as well. It's something we've seen so often, going from the snarling predatory disdainful sex-magnet to the sweet wholesome cutie in a matter of seconds at the end of a performance.
This has many shades of the WWFM video in it, the acting more accomplished. It's interesting and engaging to see the different Adams with their expressions which are both fun to watch and easy to identify with. I have to say I'm much more drawn to the dark side, finding a vodka-guzzling mischief-making lairy night out on the lash with him much more appealing than having the homebody nurse me in my hangover state with his juicing. How many times have you re-watched him rip apart the pomegranate he hands himself, run his fingers through the lighter flame or throw his drink? It's a fascinating, fabulous and entertaining story for a video that I will watch again and again.
The flickering gives it a home video feel where we're peering in on his private life through a letterbox aperture. The light and dark duality theme of the album pervades the video with two neighbouring rooms separated by a mirror/window. On either side we have evil hell-raising vampire Adam and cherubic cuddly domesticated Adam. We see the characters act out their separate parts, in a dark versus light, negative versus positive, masked versus bare, hard versus soft, stormy versus calm, action versus contemplation, destructive versus constructive, cold versus warm battle.
As Evil Adam increasingly acts up in a temper tantrum and starts to disturb Good Adam from his Zen, Good Adam tries to help but is frustrated that his efforts are thrown back at him, finally leaving it up to Evil Adam who then sets fire to the place in a self-destructive rage, depriving him of his life-force. It's only he who can save himself from himself, which he eventually does.
In the end, it says to me the power to be who we want to be is in our own hands, that people aren't black and white but have elements of both as depicted by Adam's in-between look with different coloured eyes (nod to Bowie? Also note the Trespassing visual reference as he passes the striped warning tape on the wire fence). This could personally apply to Adam the performer and Adam the person as well. It's something we've seen so often, going from the snarling predatory disdainful sex-magnet to the sweet wholesome cutie in a matter of seconds at the end of a performance.
This has many shades of the WWFM video in it, the acting more accomplished. It's interesting and engaging to see the different Adams with their expressions which are both fun to watch and easy to identify with. I have to say I'm much more drawn to the dark side, finding a vodka-guzzling mischief-making lairy night out on the lash with him much more appealing than having the homebody nurse me in my hangover state with his juicing. How many times have you re-watched him rip apart the pomegranate he hands himself, run his fingers through the lighter flame or throw his drink? It's a fascinating, fabulous and entertaining story for a video that I will watch again and again.
Saturday, 13 February 2010
Catching Up
I know it's been ages so I'm pleased you're still here. I thought I should write a catchup post summarising the past few weeks it as it doesn't look like I'll be able to write about everything I missed in detail before this latest wave of happenings. that'll teach me for going away!
Part of the problem of writing about the Adam world while I was away is that, unlike everything else on this site, I didn't feel the excitement and anticipation in real-time and as a result there's definitely something missing. I didn't go through the process of celebrating confirmed gigs, speculating during the drum-roll over things like songs, appearance and fashion stylings, and didn't get to share the experiences with you all as they happened. I also missed gauging the reactions and reading the positive media responses in the aftermath. That's something I need to keep up the obsession - it's no fun without you. Gorging my solitary self on the mountain of tasties in a short space of time meant that everything got blurred and I wasn't able to associate distinctive emotions or memories to each of the events. It's much better in smaller regular bites and that's why it was probably so easy to get hooked in the first place during AI's regular routine. This obsession is part choice, part addiction. When I came back after having gone cold turkey for so long, I could easily have chosen to be just a regular fan. What makes me a bit of a nutcase is the ethusiasm of the community, which I choose to continue to be a part of.
The highlights for me include the performances and a couple of interviews (Lyndsey Parker porch interview for the detailed chat about the music, Jessi Cruickshank's fun interview and game), though there seemed to be a shitload of them all going over the same old territory like the AMAs, being gay, Lady Gaga, meeting Oprah and meeting Madonna which all got rather tedious. It was annoying to spend such a long time listening to the same things over and over because they were so time-consuming but there were useful bits of info such as the possibility of Adam doing his first tour solo. And let's not forget his fashionista gig at the Grammys which he was a little too kind for and the Canadian TV appearances.
The first of the many Adam Lambert goodies that came along was the music video for Whataya Want From Me? for which I'd already been partially spoiled during the shooting.
The video to me is biographical and seems to represent the time around the AMA fallout but on a more personal level. He's letting us see a side that we don't see or even think about. Conveying the message of the song, Adam is pleading for patience and understanding as he sorts himself out. The colours and spaces we see Adam in are bleak and sombre. Adam is a joyless solitary figure in his cold sparsely furnished home that he hasn't been able to make comfortable, which tells us that his rapid rise to fame hasn't allowed him time to tend to it. The high walls of the garden resemble a fortress, furthering his isolation. He hasn't even had time to even look after himself or his heart, expressing anger, regret and frustration at the observer. When we see that, behind the contrasting performer and pap encounters, we feel sympathy and come to realise that it's not all glitz, glamour and smiles. Who the observer is has been left open to interpretation, but if it is his fans he brings us in closer. The last shot of a hint of a smile on getting into bed with him reassures us that everything will be OK and sums up his optimistic nature.
I would have liked to have seen something a little more abstract and less real, with Adam indulging in some elaborate costumes. I originally had in mind a variety like some of his Halloween ones, maybe a clown, a robot, an alien, a magician, perhaps one in drag. At the start we can't really see who it is and the camera pans to each one in a trippy and slightly frightening manner. It slows as the performances end to differing audience reactions and feelings from our entertainer. Then at each dressing room mirror we slowly see him emerging from under the make-up as the characters in their various guises converge, and so do their moods to reveal Adam at his vulnerable core. Well, I didn't get what I had imagined, but the video as it stands is beautifully shot with plenty of Adam camera time looking his best with a loud and clear message.
Oprah
One of the first things that struck me about Adam's appearance on Oprah was how androgynous his hair and make-up was, making him look particularly pretty. He was charming during the interview. The emphasis was on him during the polished performances where the band were lowered from the stage platform. It was great to see the audience singing along.
Ellen
This was my favourite of all the performances and such a joy to watch. Adam performing Strut aptly seemed very confident, giving off a rockstar vibe, dazzling us with his fun energy, his dancing and astonishing vocals. He commanded the stage like no other.
Part of the problem of writing about the Adam world while I was away is that, unlike everything else on this site, I didn't feel the excitement and anticipation in real-time and as a result there's definitely something missing. I didn't go through the process of celebrating confirmed gigs, speculating during the drum-roll over things like songs, appearance and fashion stylings, and didn't get to share the experiences with you all as they happened. I also missed gauging the reactions and reading the positive media responses in the aftermath. That's something I need to keep up the obsession - it's no fun without you. Gorging my solitary self on the mountain of tasties in a short space of time meant that everything got blurred and I wasn't able to associate distinctive emotions or memories to each of the events. It's much better in smaller regular bites and that's why it was probably so easy to get hooked in the first place during AI's regular routine. This obsession is part choice, part addiction. When I came back after having gone cold turkey for so long, I could easily have chosen to be just a regular fan. What makes me a bit of a nutcase is the ethusiasm of the community, which I choose to continue to be a part of.
The highlights for me include the performances and a couple of interviews (Lyndsey Parker porch interview for the detailed chat about the music, Jessi Cruickshank's fun interview and game), though there seemed to be a shitload of them all going over the same old territory like the AMAs, being gay, Lady Gaga, meeting Oprah and meeting Madonna which all got rather tedious. It was annoying to spend such a long time listening to the same things over and over because they were so time-consuming but there were useful bits of info such as the possibility of Adam doing his first tour solo. And let's not forget his fashionista gig at the Grammys which he was a little too kind for and the Canadian TV appearances.
The first of the many Adam Lambert goodies that came along was the music video for Whataya Want From Me? for which I'd already been partially spoiled during the shooting.
The video to me is biographical and seems to represent the time around the AMA fallout but on a more personal level. He's letting us see a side that we don't see or even think about. Conveying the message of the song, Adam is pleading for patience and understanding as he sorts himself out. The colours and spaces we see Adam in are bleak and sombre. Adam is a joyless solitary figure in his cold sparsely furnished home that he hasn't been able to make comfortable, which tells us that his rapid rise to fame hasn't allowed him time to tend to it. The high walls of the garden resemble a fortress, furthering his isolation. He hasn't even had time to even look after himself or his heart, expressing anger, regret and frustration at the observer. When we see that, behind the contrasting performer and pap encounters, we feel sympathy and come to realise that it's not all glitz, glamour and smiles. Who the observer is has been left open to interpretation, but if it is his fans he brings us in closer. The last shot of a hint of a smile on getting into bed with him reassures us that everything will be OK and sums up his optimistic nature.
I would have liked to have seen something a little more abstract and less real, with Adam indulging in some elaborate costumes. I originally had in mind a variety like some of his Halloween ones, maybe a clown, a robot, an alien, a magician, perhaps one in drag. At the start we can't really see who it is and the camera pans to each one in a trippy and slightly frightening manner. It slows as the performances end to differing audience reactions and feelings from our entertainer. Then at each dressing room mirror we slowly see him emerging from under the make-up as the characters in their various guises converge, and so do their moods to reveal Adam at his vulnerable core. Well, I didn't get what I had imagined, but the video as it stands is beautifully shot with plenty of Adam camera time looking his best with a loud and clear message.
Oprah
One of the first things that struck me about Adam's appearance on Oprah was how androgynous his hair and make-up was, making him look particularly pretty. He was charming during the interview. The emphasis was on him during the polished performances where the band were lowered from the stage platform. It was great to see the audience singing along.
Ellen
This was my favourite of all the performances and such a joy to watch. Adam performing Strut aptly seemed very confident, giving off a rockstar vibe, dazzling us with his fun energy, his dancing and astonishing vocals. He commanded the stage like no other.
Wednesday, 25 November 2009
Can You Handle This Entertainment?
Oh Adam, I'm never going to catch up on sleep at this rate! Here's the For Your Entertainment music video:
The video starts off with a calm and mundane evening street scene before panning underground. It's going from who we are on the surface to our deep dark decadent desires and this is where we explore them, guided by Adam. The underground scenes start off with a Matrixy vibe where he leads the way down a dark alley in leather trenchcoat and dark glasses. We follow him through a curtain into a seedy dimly lit club that's been squatted. It's a derelict but once grand opulent ballroom decorated with an ornate stuccoed ceiling and crystal chandeliers.
He's the one wearing a tie and clutching a blinging cane so there's no doubt as to who's in charge of the power dynamic and dominating proceedings. There are a lot of blurred, out of focus and warped shots, perhaps suggesting an altered state of consciousness from intoxication. Racy stiletto heels worn on lacy legs spread-eagled and pointing skyward, lots of leather, and plenty of pleasured hands roughly seizing what they can, hint at more than a bit of debauchery.
We then get some close-ups of Adam on what looks to be his throne under a warmer brighter light. These shots during the video feel a little awkward for me because it's a break in the fierceness of the atmosphere. His fluid eyebrows and expressions over-act a little, affecting the believability. As if Adam's masculinity weren't enough, we get him playing with the phallic symbolism of the snake. The chorus is the first time we get to see Adam's other outfit, which is fabulous. He has a leather sash adorned with vicious-looking shiny shoulder spikes and chains. The look is completed with patent leather cubit-length gloves, a leather corset and jewellery that gives the look of a metallic clergy collar, like he would happily give these sinful pleasures his complete absoution. We get into a little more of an S&M vibe when Adam appears to grab some dancers by the throat then pull and whip them with an invisible leash.
He then beckons us to follow him into what resembles a secret garden under the cover of thick foliage where all the forbidden pleasures are satiated. It's more secretive and seems to be a bit of a hedonistic free-for-all make-out with untold numbers of hands indiscriminately wandering and feeling. We can only assume there's a bit of an orgy going on off-camera. There's another nod to light bondage with the appearance of a lacy blindfold. The video continues with sped-up shots of dancers and a couple of references to the garden of Eden with the snake and apple where we've given in to temptation and said 'To hell!' with our morals. The video regularly cuts to one dancer in sparkly sequins lit with red who doesn't quite fit in with the whole bondage theme and to me, she the safe object of desire for those who have yet to finish chapter one of 'S&M For Beginners'. The video finishes with Adam and his band performing in the club, shot from the mosh pit of the frenzied crowd with arms in the air, complete with shaking floor. With a lick of the lips and one last look that sends us an open invitation to return, the camera pans back to the normality of street-level goings on and it's the end of our brief escapist foray, enriched with the knowledge of what lies beneath.
Sometimes I wish I hadn't spoiled myself so I could enjoy a surprise but it is in keeping with what I had imagined when I first heard FYE:
The video starts off with a calm and mundane evening street scene before panning underground. It's going from who we are on the surface to our deep dark decadent desires and this is where we explore them, guided by Adam. The underground scenes start off with a Matrixy vibe where he leads the way down a dark alley in leather trenchcoat and dark glasses. We follow him through a curtain into a seedy dimly lit club that's been squatted. It's a derelict but once grand opulent ballroom decorated with an ornate stuccoed ceiling and crystal chandeliers.
He's the one wearing a tie and clutching a blinging cane so there's no doubt as to who's in charge of the power dynamic and dominating proceedings. There are a lot of blurred, out of focus and warped shots, perhaps suggesting an altered state of consciousness from intoxication. Racy stiletto heels worn on lacy legs spread-eagled and pointing skyward, lots of leather, and plenty of pleasured hands roughly seizing what they can, hint at more than a bit of debauchery.
We then get some close-ups of Adam on what looks to be his throne under a warmer brighter light. These shots during the video feel a little awkward for me because it's a break in the fierceness of the atmosphere. His fluid eyebrows and expressions over-act a little, affecting the believability. As if Adam's masculinity weren't enough, we get him playing with the phallic symbolism of the snake. The chorus is the first time we get to see Adam's other outfit, which is fabulous. He has a leather sash adorned with vicious-looking shiny shoulder spikes and chains. The look is completed with patent leather cubit-length gloves, a leather corset and jewellery that gives the look of a metallic clergy collar, like he would happily give these sinful pleasures his complete absoution. We get into a little more of an S&M vibe when Adam appears to grab some dancers by the throat then pull and whip them with an invisible leash.
He then beckons us to follow him into what resembles a secret garden under the cover of thick foliage where all the forbidden pleasures are satiated. It's more secretive and seems to be a bit of a hedonistic free-for-all make-out with untold numbers of hands indiscriminately wandering and feeling. We can only assume there's a bit of an orgy going on off-camera. There's another nod to light bondage with the appearance of a lacy blindfold. The video continues with sped-up shots of dancers and a couple of references to the garden of Eden with the snake and apple where we've given in to temptation and said 'To hell!' with our morals. The video regularly cuts to one dancer in sparkly sequins lit with red who doesn't quite fit in with the whole bondage theme and to me, she the safe object of desire for those who have yet to finish chapter one of 'S&M For Beginners'. The video finishes with Adam and his band performing in the club, shot from the mosh pit of the frenzied crowd with arms in the air, complete with shaking floor. With a lick of the lips and one last look that sends us an open invitation to return, the camera pans back to the normality of street-level goings on and it's the end of our brief escapist foray, enriched with the knowledge of what lies beneath.
Sometimes I wish I hadn't spoiled myself so I could enjoy a surprise but it is in keeping with what I had imagined when I first heard FYE:
"I'm picturing Adam looking particularly fierce. He'd be dressed up in a mind-blowing costume and would work the part of a dominator getting down and dirty with risqué moves against other amazingly costumed and beautiful folk on the dance-floor. There'd be lots of glitter and glistening sweat on luminous skin with a feeling of danger and debauchery amongst the ecstasy."The video didn't go as far sexually as the AMA performance but it's still hot and sexy with much less aggression and more play. There wasn't as much dancing or interaction with the dancers from Adam as I'd expected but the imagery and visuals leave a strong impression of brand Adam Lambert, the entertainer. A job well done.
Tuesday, 27 October 2009
Time for Miracles - Video Review
Yes, I'm slow. I wasn't going to do a review of the TfM video (HQ version here) but since there's not been a lot over the last few days, I thought I might as well. I wasn't as excited about seeing it I was on hearing the song probably due to a slight aversion to big budget Hollywood disaster flicks. All the film-makers seem to have gone to the same school, churning out the same disaster-movies-by-numbers stuff. I guess it's like one of those foil balloons that come in certain shapes - all garishly decorated on the outside and hollow on the inside. Maybe I should stop turning my nose up at these but I'm just too jaded for my own good.
I didn't have high expectations because of this but was still hoping that what I predicted turned out to be very wrong. The opening shot is one of Adam looking reflective, crouched up on a city rooftop in front of an apocalyptic sky. Although the colours are pretty, we know it's a harbinger of looming disaster. Walking through a burnt-out smoky landscape interspersed with solar prominences, we get to see end-of-the-world Adam close up singing the first verse. A little unkempt and stubbly, his skin looks darkened by dirt although his eyes remain gleaming and his teeth shine a bit too brightly. His hair is a little matted but slightly different on each shot. The epauletted coat and scarf are a little scruffed up but the look is still signature Adam. He finishes the verse with puppy-dog eyes and a pleading look. I'm not a fan of the clichéd slow-motion shots especially as they're not synched very well.
On reaching the chorus, we get to see more destruction including the obligatory explosions and cars on fire. Some of the expressions seem inconsistent, cutting from sad resignation to singing his guts out. In the first close-up on the roof the lighting is a little strange and quite unflattering. Adam's blue-grey eyeshadow looks much too dark, almost like he's just changed out of drag and hasn't had enough time to remove the excess make-up. It doesn't seem to be in keeping with his overall look, which takes me back to his semi-final performance of Satisfaction. It's followed by some close-ups sans eyeliner that make up for it though.
The second verse is illustrated by a walk down a panicked street with chaos all around and people bumping into Adam but he seems oblivious and very much focused on his own inner struggle - hoping for a miracle to save a doomed relationship. There are some pretty shots but I find myself distracted by the mysterious appearance of Groucho Marx eyebrows.
The scenes of destruction and explosions become grander in scale as the whole world seemingly crumbles when we approach the climax. Adam breaks into a march with a purpose and sings with ferocity, flared nostrils and all. His expressions emote the magnitude of the OTT scenes of the planet's annihilation. Subtle it is not but suitable it is. We're later greeted with sunny scenes that spoil the end of the film - not that anyone thought there would be anything but a happy ending. The video ends with Adam in a memorable and commanding pose in front of the city skyline.
The video is shorter than the mp3, omitting some of the chorus repetition after the crescendo. The cutting between scenes is a little too fragmented for my liking and ends up impeding my enjoyment of the video. It doesn't do justice to Adam's acting abilities. Although I would have preferred more Adam time, I think it hit a fairly good balance in not being too self-indulgent. It doesn't look like it was done on the cheap with all the special effects but what I find strange is there seem to be many details that were overlooked which leaves ample room for improvement. This is his first music video but it's not his project - he's merely the paint for the canvas, not the artist. The result is predictable and lacks imagination but it has a brief to fulfil which I think is met with fairly enjoyable results.
What I'm really looking forward to though is seeing the canvas by Adam the artist. I have no idea what to expect which makes it all the more exciting. The only expectation I do have is that he won't be painting by numbers. We are so agonisingly close. Aaagh! I can't wait!
I didn't have high expectations because of this but was still hoping that what I predicted turned out to be very wrong. The opening shot is one of Adam looking reflective, crouched up on a city rooftop in front of an apocalyptic sky. Although the colours are pretty, we know it's a harbinger of looming disaster. Walking through a burnt-out smoky landscape interspersed with solar prominences, we get to see end-of-the-world Adam close up singing the first verse. A little unkempt and stubbly, his skin looks darkened by dirt although his eyes remain gleaming and his teeth shine a bit too brightly. His hair is a little matted but slightly different on each shot. The epauletted coat and scarf are a little scruffed up but the look is still signature Adam. He finishes the verse with puppy-dog eyes and a pleading look. I'm not a fan of the clichéd slow-motion shots especially as they're not synched very well.
On reaching the chorus, we get to see more destruction including the obligatory explosions and cars on fire. Some of the expressions seem inconsistent, cutting from sad resignation to singing his guts out. In the first close-up on the roof the lighting is a little strange and quite unflattering. Adam's blue-grey eyeshadow looks much too dark, almost like he's just changed out of drag and hasn't had enough time to remove the excess make-up. It doesn't seem to be in keeping with his overall look, which takes me back to his semi-final performance of Satisfaction. It's followed by some close-ups sans eyeliner that make up for it though.
The second verse is illustrated by a walk down a panicked street with chaos all around and people bumping into Adam but he seems oblivious and very much focused on his own inner struggle - hoping for a miracle to save a doomed relationship. There are some pretty shots but I find myself distracted by the mysterious appearance of Groucho Marx eyebrows.
The scenes of destruction and explosions become grander in scale as the whole world seemingly crumbles when we approach the climax. Adam breaks into a march with a purpose and sings with ferocity, flared nostrils and all. His expressions emote the magnitude of the OTT scenes of the planet's annihilation. Subtle it is not but suitable it is. We're later greeted with sunny scenes that spoil the end of the film - not that anyone thought there would be anything but a happy ending. The video ends with Adam in a memorable and commanding pose in front of the city skyline.
The video is shorter than the mp3, omitting some of the chorus repetition after the crescendo. The cutting between scenes is a little too fragmented for my liking and ends up impeding my enjoyment of the video. It doesn't do justice to Adam's acting abilities. Although I would have preferred more Adam time, I think it hit a fairly good balance in not being too self-indulgent. It doesn't look like it was done on the cheap with all the special effects but what I find strange is there seem to be many details that were overlooked which leaves ample room for improvement. This is his first music video but it's not his project - he's merely the paint for the canvas, not the artist. The result is predictable and lacks imagination but it has a brief to fulfil which I think is met with fairly enjoyable results.
What I'm really looking forward to though is seeing the canvas by Adam the artist. I have no idea what to expect which makes it all the more exciting. The only expectation I do have is that he won't be painting by numbers. We are so agonisingly close. Aaagh! I can't wait!
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