Yes this clip was recorded in a large room with green screen, no microphone or soundproofing. Consequently a raw sound. Although, visually facilitated the onus is on the spectator to discern the lyric thereby giving their focus to the content (i.e. intrinsic aesthetic) of the song. That said, in my view, while Content is best left to the Artist the Jewie production is best left to a Jewie production that both respects the art and understands the functionary role of production. Namely, to lend support to the art/content rather than burying it in the extrinsic aesthetic of the production.
Further to my NOT THE BOMB video song demo at the top of the page, it is, ironically, easy to get lost in (military) CLAP trap. Critical scenes in ‘Apocalypse Now‘ employ a similar treatment of aesthetics, although mine is not nearly as obfuscated, whereby the audience must re/interact. The viewer either detaches or, if serious about wanting to be informed enough to try to do justice to an inner quest for truth, struggles to discern Marlon Brando’s incoherent mumbling.
I know only too well A&R ceased to exist in the Neoliberal music industry at least three decades ago and not least of all so those resources would be reassigned to the corporate bottom line of predetermined consensus narrative formulae songwriting and the glossy high production required to feed the machine for market share.
The realities of reducing art to corporate commodity being what they are, why on earth would I waste my soul, talent, resources or time reducing my content in an effort to meet the criteria of that nihilistic paradigm … particularly when what I create constitutes, if they were availed of an artist’s eye to see it, more their opportunity than mine.
Here are some video song demos of my original songs. These recordings are unplugged acoustic or use a basic stage mic only. The intention is to reduce the guff of sophisticated affectations that at best constitute sophisticated performance or high end production yet fraudulently pass as content or art, to a raw and rudimentary sound that cuts through that Neoliberal swindle.
Read YouTube description for further explanation or suffice it to say,
📌 It’s okay if fluffy filler is employed to enhance substantive content and potentially make it more palatable to a wider audience. It’s a travesty however when fluffy filler is not only elevated but also afforded primacy over substantive content whereby the latter gets buried in fluffy filler in such a way as to devalue it comparative to the content-less vacuous guff that is fluffy filler. An aesthetic which by definition, if not in the service of content can only serve, nothing. Or in other words, indemnified soulless entities, being of course the corporate not the human, bottom line.
To help save confusion I’ll qualify what I’ve said as follows. Fluffy Filler is only more or better than the content-less vacuous guff I have described it as being, when it fulfils its correct role and occupies its correct place in relation to substantive content. It is entitled to claim “its dues” or “due respect” or “credit where it’s due”, accordingly but certainly not exclusively or at the expense of the content/truth or in other words THE KINGDOM it is supposed to serve.
Perhaps you’ll agree my work successfully fails to resonate with the superficial and extrinsic aesthetic ubiquitous to modernism or as I prefer to call it, our Jewified culture. This failure hopes to honour and indeed salvage the song as bard/sage/hu-man/ content rather than an inversion whereby the song, no matter how extrinsically compelling, exists as little more than, a lot of nothing.
These video song demos are presented as multimedia pieces with visual yet little or no audio editing in order to help illuminate content and intrinsic aesthetic rather than exhume an extrinsic aesthetic to be placed, by way of the aforementioned Neoliberal affectations, in the service of nothing.