Amber Mark crashes her ex's wedding in Vegas in a Hangover-inspired anti-romcom fever dream by Olivia de Camps, delivered in her distinctive hyperactive style - featuring with cameos aplenty, including Amber's collaborator on the song, Anderson .Paak.The video for Don't Remind Me unwinds through a series of chaotic flashbacks as Amber is interrogated about the events of the night before. A storyline emerges, featuring surreal cameos - including 90s star Carmen Electra as the wedding minister - and other strange distractions that pull Amber deeper into the madness. Anderson .Paak wanders into this scenario to add another dimension of irreverence - while Amber looks unfeasibly sexy, and gives some airtime to the brand that has partnered on the making of the video. Like her previous video for Mexican star DANNA's Khe Calor, this is Olivia de Camps exercising her gift for taking a hugely bold approach in a commercial space, keeping things emotionally grounded while generating manic energy and fun - and giving the audience the pleasant task of unpacking everything that's happening.It's Olivia's genre-blending world where music and fashion collide - and for the length of the video we get to live in it. “Amber came in with this idea of a Hangover-style night, waking up and trying to piece together the night," she explains. "We wanted it to feel like a Vegas fever dream… bizarre, messy, a little too bright, surreal, and slightly unhinged."When [Amber] crashes her ex’s wedding to an older woman, it becomes this tender satire on heartbreak, that absurd loop of trying to move on and failing beautifully."Working with Amber and Anderson was magnetic. He’s pure rhythm and play. We built a gallery of wild personas for him - his iconic wigs, looks, even a bit of choreo. The whole video lives in that space between ridiculous and beautiful, the sweet spot where chaos somehow makes sense. Exactly the energy we wanted.”

Charlotte Meling's video for pianist and singer Bailey Lanes follows a young dancer whose father’s disapproval casts a shadow over her dream.The video for Little Bit Brighter captures the quiet moments between ambition and acceptance, told through movement, light, and emotion.As with her video late last year for Ashley Singh, released last year, Charlotte Meling focusses upon the performances of her lead actors in the narrative to great effect, resulting in a engaging drama that dovetails well with Bailey Lanes' heartfelt song.

Roger Spy directs the second in a trilogy of music videos for singer-songwriter Jessica Winter. The video for Aftersun takes inspiration from the iconic Chris Cunningham promo for Madonna's Frozen, with a daytime, VFX-infused twist. Set within an arid landscape, the video blends lingering performance shots and slow motion snapshots, to match the relaxed pace of the track. "We wanted to approach it more like a ballad, then Jessica said "let's do (the video) as an upbeat day time version of Frozen," Spy explains. "Personally for me Frozen is such a visual staple of constant inspiration so I was super happy and excited to do it."

A second guest has been announced for the next meeting of Music Video Preservation Society, at The Mildmay Club in North London. It's video director Iris Luz, whose work includes videos for PinkPantheress, George Rlley and Oklou - and a remarkable one for Hudson Mohawke.Iris is a multi-disciplinary artist and consultant from West London. With years of experience in magazines like Dazed & Confused, she has been making waves in music videos in the past year or so, with work that talks directly to her generation with humour, joy, satire and a smidgeon of darkness.She will be introducing some of her music videos - shown on the big screen in the famous main hall at The Mildmay - and discussing her progress to date as a director with MVPS host and Promonews editor David Knight, next Friday, October 17th. Tickets are still available here.Iris Luz will be joining music video directing legend Steve Barron at this edition of Music Video Preservation Society. Steve directed many iconic videos in the 1980s for the likes of Human League, The Jam, Michael Jackson, Dire Straits and A-Ha. MVPS host David Knight says: "Steve is a legend who helped to create music videos as we know them. And Iris is a hugely talented filmmaker, a legend in the making, who has a very good idea about where they are heading." Book tickets here.

Continuing their collaboration with Lovejoy, Noiziac - director Aaron Bishop and EP Harvey Davies - are back with their final instalment of promos for the band’s debut album One Simple Trick, on opening track Baptism.Departing slightly from the world of his previous two videos with the band, Bishop sets his sights on the greed and exploitation of impressionable audiences within the context of televangelism. In this video, frontman Wilbur suits up in blue velvet and fake tan as the ill-fated Pastor Gold, a televangelist who basks in his own egomania while rotting from within.Ultimately, the video sets out to show a character whose immorality is hidden under the guise of a carefully crafted image who, by the end of the story, receives his comeuppance. Rather than it coming from a position of justice or authority however, the punishment is almost coincidental - perhaps even divine.Completing the cycle of interlinking narratives, Baptism ends with a tie-in to the TV waves of Lovejoy’s previous video for Common Touch, opening the doors of Dwelling Tower up to their fanbase while closing the book on the visual world of One Simple Trick for the time being.

Harvey Pearson directs a stirring promo for returning singer-songwriter and producer Jamie Woon, set within a momentous vision of the natural world.Pearson describes the visual for All The Way as "a journey through light and dark, searching for harmony in the space between chaos and calm." It's also characteristic of his work in placing the artist in countryside and forestry, finding ways to use the artist and environment to reflect the emotion within the music.With overlaying of imagery, and beautiful portraits of Woon shot both night and day, the director elevates the sophistication and delicacy in the artist's music. In this respect he has supported in his image-making by some lovely cinematography by the prolific Sam E H Hooper and grade by Dan Levy, bringing out the almost tangible quality, and majesty of the setting.