Don’t Let Me Down
The video for “Don’t Let Me Down (featuring Daya)” begins with Andrew Taggart and Alex Pall approaching a convertible parked on the side of a winding mountain road. In a series of quick shots, the two of them enter the car, start the engine, and begin to drive down the road, Pall in the driver’s seat, Taggart on the passenger side wearing a pair of enormous earphones, presumably so that he can block out the roar of the wind as it passes by and listen to his favorite song, which is quickly confirmed to be “Don’t Let Me Down” by the Chainsmokers (featuring Daya).
Here we are greeted by the first in a long sequence of questions: why was this very nice vintage convertible sitting seemingly-abandoned by the side of the road? As Pall and Taggart approach it, there is little sense that they are returning to a car they themselves have parked, but we are forced to assume that this car does, in fact, belong to them. But what were they doing outside the car? Since neither of them is carrying a camera, we can assume they weren’t taking pictures of the scenic view — maybe one (or both) of them need simply needed to urinate.
But even if these concerns can be swept aside, we must then grapple with this: why does Taggart think it is socially acceptable to listen to music on his headphones while on a long drive with his friend? The car must not have a working sound system, otherwise the two would simply listen to music together. But instead, Taggart has abandoned Pall to the painful isolation of a long car drive with no music and no one to talk to.
This monstrous betrayal will soon be the least of Taggart’s worries, however, as the video then cuts to a shot of a distressed-looking Daya, wandering through the marsh dressed in all black like an Instagram-ready sorceress of the lowlands. Moments later, she appears on the road, blocking the advance of Taggart and Pall. It’s a strange-enough sight on its own (enough that Taggart takes the drastic step of removing his headphones), but before they can react, four other young women materialize behind Daya and step out to flank her. Taggart and Pall, seemingly unfazed by this flagrant disregard for physics, get out of the car to investigate.
Receiving no answers from the silent phalanx of Snapchat witches, Taggart and Pall return to their car with no clear plan for dealing with this bizarre interruption of their trip, but they’ve barely sat down when something shocking happens: the car begins to move of its own volition, bouncing up and down like as if it were possessed by a set of enchanted hydraulics. And possessed it may be; while the car bucks and lurches, Daya and her coven perform a synchronized dance that looks for all the world like some manner of dark invocation.
The car moves backwards and forwards, seemingly at the whims of Daya and her dastardly cohort of enchantresses. We know not to what end Day has hexed this unbelievably primo automobile, only that she has full commands of its motions. All the while, Taggart and Pall stare on, their faces grim and unreadable. They seem neither shocked nor disturbed, almost as if this encounter was expected, maybe even… foretold?
The dance continues and the ancient machine’s movements grow wilder, threatening at times to fully toss Taggart and Pall from the car, until, impossibly, it happens: as her ritual reaches its climax, the car gives one final heave and Taggart and Pall are flung into the air. Suspended as if by a phantom thread, they float above the car, their expressions twisted into twin masks of shock and awe. Daya looks on as her companions slowly wind down their deadly jig. Her face betrays no feeling of satisfaction or relief, only a lingering sadness.
The video fades out, but only for a moment, before we are treated to a final image of Taggart and Pall, hours after their encounter with Daya, still suspended in the darkened firmament. The forest around them is alive with the sounds of the night, but they remain suspended in time, prisoners of the air, isolated from every other living creature. A cruel fate, yes, but perhaps not an undeserved one.
At the end, the message and meaning of all that’s come before is finally clear. Previous to the opening of the video, Taggart and Pall murdered Daya and transported her corpse in the trunk of their vintage convertible. After abandoning her body by a quiet mountain road, they attempt to return home — Taggat so overcome by guilt that he attempts, futilely, to block out the world with his music — only to encounter her forlorn spirit on the highway, watched over by a family of furious wraiths, ready to enact the only vengeance she can.
Technically, this makes “Don’t Let Me Down” the first (and so far only) murder ballad within the Chainsmokers cannon.
The “official” music video for “Closer” is notable for two reasons: the first is that even though this video is ostensibly a re-telling of the song’s very clear narrative, it focuses on the sexual activity between the central couple (portrayed by singers Andrew Taggart and Halsey) to such an extent that it becomes unbearably distracting. The two spend so much time writhing around with each other half-naked on top of a bed, either actually kissing or rubbing their faces up against one another, that it becomes impossible to think about anything other than the mechanics of filming these scenes. How long were they in this bed together? How well did they know each other before filming this video? Did they ever feel uncomfortable being so physically intimate and, if so, was there a point where it passed from awkwardness into utter tedium as their shooting day dragged on? Did either of them have bad breath? Things of this nature.
The second reason is that, despite containing the (allegedly) erotic sight of two nubile young performers canoodling, the “official” video has literally a fraction of the views as the lyric video. Directed by frequent collaborator Rory Kramer, this video (or “a Rory Kramer vision”, as the title cards identify it) has 2.1 billion views, while the Dano Cerny-directed second version, released three months later, has just over 276 million. Don’t let the absolutely staggering quantity of those views overwhelm you; while it may seem strange to refer to anything that has been viewed hundreds of millions of times as a ‘failure’, if your audience drops by 90% between installments, it’s hard to frame it as a win.
Now that we’ve got that out of the way: you should absolutely let the staggering quantity of those views overwhelm you. Putting aside the fact that even that 2.1 billion views only ranks it as the twentieth most-viewed video on YouTube, those are still magnificent numbers, and meaningful, too. Because “Closer” was one of the biggest songs of 2016, and while there were certainly plenty of people who threw the lyric video on in the background while their attentions were elsewhere, with over two billion views, it stands to reason that a sizable number of people actually watched the visuals. With that in mind, it’s worth considering how those visuals impact the way those viewers experienced the song.
To put it simply, the narrative of “Closer” the song and the narrative of Kramer’s video (sorry, “vision”) do not match up. The song is about two dysfunctional exes briefly reigniting a failed relationship out of a misplaced sense of nostalgia and overwhelming loneliness, while the lyric video, as much as it can be said to be “about” anything, is about two conventionally attractive young people in an apparently stable relationship reminiscing over some of the good times they’ve had, driving around in their Range Rover and frolicking in various scenic locales.
That’s not necessarily a problem in and of itself — Kramer’s job here was to create some pleasing visuals to play while the lyrics of the song flashed across the screen, and he certainly succeeded in that. What’s disconcerting is that the lyric video isn’t quite different enough from the song’s story to make the contrast as obvious as it should be. Like the song, the video depicts a couple looking back with fondness on the recent past, but skims over the song’s darker implications. If you weren’t paying attention — and again, plenty of this video’s viewers probably weren’t — this video might leave you with the impression that “Closer” is simply a song about nostalgia and being in love. Again, it’s not not about that, but this surface-level reading strips the song of all its drama and turns the chorus from an ironically anthemic statement of purpose into a genuinely romantic statement, completely inverting the songs meaning.
This is, in all likelihood, not something worth losing too much sleep over. There’s no reason to believe that the majority of the Chainsmokers fandom lacks the basic interpretive abilities necessary to understand the song’s intended meaning. But this isn’t really about those people; it’s about the public at large, who have for the most part already left the Chainsmokers in their cultural rearview. These are the people who heard this song on the radio so many times that it lost all meaning, and when they look back on it ten years from now, all they’ll remember is that initial rush of emotion they got when they first watched the video — a video which, on top of its other troubling aspects, promotes the blatantly false notion that the band’s name is spelled “Chainsmokres”.
I mean, come on.
All We Know
Like the more-successful version of the “Closer” video, “All We Know” is yet another “vision” from frequent Chainsmokers collaborator Rory Kramer, and while the video stands as one of the very few unqualified aesthetic successes in the group’s videography, it unfortunately contains a fundamental misalignment between subject and form that ultimately detracts from what might have been a solid entry in the cannon.
The song itself is about the most predictable follow-up to “Closer” that could have been released; lyrically, it displays a slightly more romantic reinterpretation of the themes of the previous song (to the point where it’s easy to imagine this as an epilogue to the story of “Closer”), while musically representing something of a retreat, suggesting a sort of soft alt-rock blend between the styles of “Closer” and “Don’t Let Me Down” while returning to the earlier (and “safer”) tactic of mixing Taggart’s vocals beneath those of a more-polished female singer, a la “Roses”. As a single, it didn’t pull the same numbers as “Closer,” but it was never going to; in hindsight, it seems insane that the Chainsmokers even tried to release another single in 2016.
As for the video, “All We Know” boasts a plot that manages to be both embarrassingly threadbare and crushingly sad; like, sad to the point that you don’t to watch it, or even really think about it. The bulk of the video revolves around footage captured via SnorriCam (also known as a “body-mount” or “the least obnoxious cinematic flourish in Requiem For A Dream”), documenting the story of a man who leaves his apartment after fighting with his girlfriend, meets the Chainsmokers in a liquor store, gets drunk outside a Wendy’s, throws some abandoned furniture into the street, then hitches a ride to the mountains where he watches the sunrise.
The moment that launches this dark night of the soul and sends our protagonist on a drunken sojourn through Los Angeles is handled in such a perfunctory manner that it doesn’t even appear on screen, but if you turn your volume all the way up during the twenty-two seconds of titles that roll over a black screen at the video’s beginning, you can hear the main character speaking to someone over the phone (his brother, I think?) who informs them that his (their?) dad has fallen ill and will probably die soon.
The fact that this incredibly depressing detail is not confirmed at any point during the body of the video (the brief exchange that the main character has with his girlfriend at the beginning is vague enough to suggest anything from a terminal illness to a breakup to a bad day at work) leaves open the possibility that it was a last-minute addition to the video, a cheap and transparent attempt to layer unearned meaning onto what would otherwise be nothing more than a particularly conceptual sizzle reel.
And here’s the thing: this video does look really cool; more than that, it’s an extremely accurately-filmed depiction of how it feels to be publicly drunk in a large urban area — not so much in the exact details, but in the overall feeling of disorientation, the way you can quickly swing from feeling claustrophobically hemmed in by light and noise on all sides to feeling like the last person left alive on earth. Given the lyrical subject matter of “All We Know”, there was no reason that this video couldn’t have stood on its own without the dying-dad subplot, but we must remember that Rory Kramer is an artist, and the intentions of the artist are, ultimately, inscrutable.