Anthony Dickenson's video for electronic musician Rival Consoles is a months-in-the-making marvel, a personal experiment that has evolved into a large-scale installation, a blurring of the lines between moving image and fine art.The film to accompany Soft Gradient Beckons is a frame-by-frame animation of Dickenson's hand-painted monoprints. It's a meditative, analogue response to an electronic composition which resulted from the director's diligent repetition of the creative act of painting - and a total of over 5000 frames painted. Each frame was transferred onto tracing paper, building a rhythmic visual language that mirrors the emotional shifts in the track. The film’s quiet pulse and slow unfolding invite the viewer into a space where rhythm, decay, and memory take on physical form.Ultimately as the film shows, it results in 11 painted rolls, each 20 metres long, laid out in sequence to reveal the full timeline of the piece. “The process became its own kind of ritual," says Anthony Dickenson. "Painting each frame by hand over months gave me space to reflect. The piece grew out of a changing period in my life, and somehow it absorbed that energy. It became less about animation, and more about presence.”

Olivier Richomme directs this rambunctuous hometown love letter to Falkirk for Scottish folk-punk band Brògeal.The video for Tuesday Paper Club follows a paperboy on his round, delivering to a cast of eclectic, everyday characters around the Stirlingshire town. Full of whip pans, zooms and frantic shots on the bike, it's brought to life with a breathless edit and brilliant performances - including a cameo from actor Sanjeev Kohli as the paperboy's frustrated boss. It's raw and tongue in cheek, a suitably action-packed video for a great track.

Gabrielle Torreborre directs an affecting promo for Spanish duo Coro & Gully. The video for their delightful song Palomitas Sin Maíz was written in tribute to Coro's grandmother, who passed away in March, with both artists turning to songwriting to process the emotions together.Deeply introspective and human, the video is built from an abstract montage of performance and lingering narrative snapshots, building an atmospheric, gentle aesthetic. "[The video is] a joyful tribute to life and the memories that outlast it," explains Torreborre. "It was shot on 16mm, which allowed us to create a soft, reminiscent atmosphere like a tucked-away memory."This video was an opportunity to reflect, process and a reminder to be grateful for those who we still have around us and to celebrate those who have long left."

It's been a tumultuous period for Irish rappers Kneecap - under intense political pressure and immense media scrutiny, gigs cancelled and their appearance at Glastonbury under threat. And now here is a statement - in both the track and the powerful visual by Finn Keenan - about their defiance and resolve. It all came together very quickly, in the days following that blistering performance at Glastonbury, but Keenan's extraordinary visualisation of The Recap - documentary combined with impish animations, political polemic and celebration of their unshakeable support for Palestine - may be the most significant thing that Kneecap have done. And that includes their amazing movie. This is an intense experience, and certainly one primarily for their fervent supporters. But as with Kneecap, as well as the political message there is humour - and also a shoutout to Helen Wilson, the lady in the crowd at Glastonbury who livestreamed the performance to the world. Finn Keenan has commented: “It took a lot of Incredibly talented and passionate people to come together to make this video in just over a week. I can’t believe the trust and support we got from Kneecap and their team. A once in a lifetime kind of job. So grateful to each and every one of yiz. More Blacks, More Dogs, More Irish, Mo Chara. X”

Music Video Preservation Society returns to the Prince Charles Cinema next Thursday, July 17th with another celebration of iconic music videos from the 1970s to the 2020s - and a very special guest: pop video director extraordinaire Colin Solal Cardo.Over the past decade, Colin has directed memorable music videos for some of the most exciting artists in pop music, including Charli XCX, Christine & The Queens, Griff, Robyn, Yseult and most recently, Wolf Alice. This native of Paris cut his teeth at the groundbreaking live music channel Blogothèque, directing cinematic live sessions for Phoenix, Alicia Keys, Nicolas Godin and more. He’s also a photographer and directs ads too.Colin is one of the most sophisticated music video directors around. He’s a master at nurturing performances from pop stars that have authenticity, where they reveal their true selves on screen. He’s also an avid fan of the artform and keen student of music video history and the directors who preceded him - particularly its rich heritage in France. It will be fascinating to hear him talk about his work and his part in the bigger story of music videos.Colin will join MVPS host David Knight (Promonews, UKMVAs) on stage for another curated dive into five (or more) decades of music videos, packed with mini-masterpieces of sound and vision. • Tickets to Music Video Preservation Society at The Prince Charles Cinema, 8.15pm on July 17th here

Following up their guerrilla-style shoot in Paris for Moi last year, DON Prod were reunited with Central Cee to capture the excitement and sheer adrenalin thrill of the rapper's recent UK and Ireland Can't Rush Greatness arena tour.This is a heady, breathless mix of backstage documentary and performance video, brilliantly shot and edited by the directing duo to showcase both Central Cee's talent and phenomenal success - and the fact he is still keeping it real.