When analysing a conventional music video, let's say by The Saturdays, one would be able to talk no end about the choice in props, costume, location and performance or the use of camera angles, lighting and space. This is because a generic pop song by an artist such as The Saturdays would need to use generic conventions in making the music video, to suit the genre and cater to the audience's expectations.  As Andrew Goodwin (1992) would say: particular music genres have their own music video style.  But an underground house music artist does not have to use generic music video conventions because their genre doesn't have a traditional music video style (or many notable music videos). Therefore an underground house music artist such as Boston Bun can be more creative in their music videos. So one must look for other, less conventional, aspects of the video to analyse.

The music video for We Got Soul is one continuous tracking, long shot of a hot-dog walking with a backdrop of: blue sky, photographs of various hills, photographs of buildings and photographs of celebrities. The repetitive lyrics appear in the blue sky among the clouds and the celebrities have all got lip-syncing lips super imposed over their mouths.

The song features a continuous bass drum beating from beginning to end, the music video enhances this feature in the fact that it is a 'continuous tracking, long shot' which follows a walking hot-dog from beginning to end.  At the end of the song, when the drum beat finally trails out, the tracking shot finally stops tracking and the hot-dog exits via the right of the screen, ending the video.  This is an example of Andrew Goodwin's theory that one of the main typical convention of a music video is to have a relationship between the music and the visuals. The video also features many computer generated images such as: horses, dinosaurs, Bart Simpson, dancing women, planets, space shuttle, fish and birds. These visuals relate to the music because the song is made almost entirely on a computer using synthetic instruments. So a combination of computer generated music video and computer generated song is logical and works well.

A similar typical convention Andrew Goodwin mentioned is that there is a relationship between the lyrics and the visuals.  This convention is used for the duration of this music video because every lyric is repeated in the sky or lip-synced my a mouth on a celebrities face.  This is a twist on traditional conventions, however, because Bear Who? is not performing any of the lyrics himself; the performance of the lyrics is computer generated. This could be interpreted by Gow as an anti-performance piece, as there is no direct performance of the song by the artists in the video.

The use of celebrity photographs and famous landmarks is an example of another of Goodwin's conventions, that there are likely to be inter-textual references. These can be explained in this quote from the 'about' section of the Ed Banger website:

"Drawing on the street energy of hip hop, rock’s explosion and the hypnotic compression of techno music, but remaining open to all other influences, the sound of the label, mostly electronic and saturated, has become a trademark, registered worldwide. The revered roster and SO:ME’s (a graphic designer)

post-cartoon imaging are practically pop culture icons, especially within the world of new media (blogs, forums, social networks) where Ed Banger remains at the top of their game."

Ed Banger clearly see themselves as at the forefront of modern pop culture across

the world. So would inevitably use famous imagery that is embedded in the heart

of pop and world culture in their design and music videos.  The music video also makes an inter-textual reference to Boston Bun's other

singles Housecall EP  and Flasher EP because it features the artwork of the

singles in the video (2:36).