Fiona Jane Burgess finds the beauty in the ordinary for Wolf Alice's Sofa, and employs the song's title and central metaphor as a clever visual device.The video for The Sofa begins with a band performance in a sitting room - with lead singer Ellie Rowsell lying comfortably on the eponymous object, from which she delivers something like a personal report card on her life. As she does so, the sofa beings to glide laterally from the room into a London street - a transition that's achieved in-camera, in one shot.This is where the residents are engaged in activities that reflects Ellie's lyrics and positive mindset. With scenarios that have resonance to a hot summer in the city and excellent real people casting it's a version of the band's home district of Seven Sisters, North East London (as mentioned in the song) that cleverly treads a line between fantasy and realism.And its further evidence of Ellie Rowsell's assurance as a frontwoman - again reflecting the quiet self-confidence that exists in the song. FIONA JANE BURGESS: “It’s always such a pleasure to work with a band who know what they want and are incredibly collaborative to work with. From the moment I heard the track, I knew it was a special song and the video had to be equally mesmerising and captivating and epic. The lyrics are so visual too, so it was really about how to bring those lyrics to life and interpret the world of the song."When I first listened to the song, I imagined travelling somewhere on a train or a bus, watching the world unfold from my window seat. That’s the feeling that inspired this idea - the feeling of sitting back and travelling past scenes on a summer’s day, only this time it was on a sofa :)"This shoot was ambitious in scale but the idea was to make it look effortless. I wanted the sofa moving out of the living room set to look seamless, as well as the characters and scenes to feel like they were capturing the big and small celebratory moments, from the life-changing euphoria of getting married or the adrenaline rush you get from watching the footy with friends, to kids performing a TikTok dance routine or eating an ice cream."The band also had lots of ideas about the scenes and if you look closely there’s lots of easter eggs in there which point to different lyrics in the songs off their album which is fun - it’s a bit like Where’s Wally!"I always wanted to do everything in-camera and not on a green screen, so we shot on various residential and commercial streets in North London and built a real-size living room in the middle of the street and had a 200ft track with the sofa rigged onto it."We shot everything in one day on 16mm with 65 extras plus the band and sofa scenes and very temperamental weather which kept changing throughout the day, which the camera crew did a very good job at embracing!"It was a brilliant shoot and process overall and I couldn’t be prouder or happier to have played a part in helping to bring this song to life.”

Ferina directs a star-studded visual for HAIM, featuring British actors Will Poulter, Archie Madekwe and Nabhaan Rizwan.Pulled together with only three days prep, the video for All Over Me takes place in a threadbare apartment, where the band interact with each of the guest stars. In fact, following the sentiments of the song, things get passionate. Boasting a gently colourful and naturalistic aesthetic - with cinematography by Rina Yang - the video explores connection and the rollercoaster of relationships, told through lingering gazes, body language and playful movement.

Ted Clarke directs a playful promo for actor Jamie Flatters' musical project sandy crow. In the video for Bart, we find Flatters on the streets of Brixton after a successful bank robbery - that's about to go all wrong. Eventually the panicking robber befriends a quartet of skater boys who take him on a wild night of partying, skateboarding and drug-fuelled fun. A clash of editorial style, conceptual shots and narrative, it's another stylish video from Clarke - who directed a series of promos for Emil James last year - with an excellent performance from Flatters.Aesthetically blending spotlit slow-mo shots and vibrant pops of dye-pack yellow, it's a reminder of misspent youth and questionable nights out with strangers, perfectly suiting the track.

David M Helman and Daniel Henry co-direct a wonderful video for rock band Clap Your Hand Say Yeah, celebrating the 20th anniversary of their debut album - featuring a day in the life of the manager of an LA computer repair shop, played by Eric Rahill.To the soundtrack of The Skin Of My Yellow Country Teeth, Helman and Henry take us through Rahill's character's busy working day, encountering customers and the mindboggling range of outdated electronic goods that he and his introverted co-employee are commissioned to fix.Richly detailed and layered with incident, characters and immediately recognisable outmoded tech, its a hugely engaging, entertaining narrative, brought together by Rahill's superb performance. Above all, it's cinematic in a way that music videos aspire to but rarely achieve. A great achievement by the directors."The project came together in the lead up to the 20th anniversary of Clap Your Hands Say Yeah's debut album," says David M. Helman. "This single never had a video and the band really gave Daniel and I creative freedom to run wild."Knowing that this is a signature track of that moment in time, we wanted to make sure that the story resonated and hit those nostalgia pangs. In our minds, old electronics felt like real-world portals to jump seamlessly through time so centering this story around a local computer repair shop provided us glimpses into the past through the devices that pass through the store. Following a local hero played by Eric Rahill who pulls apart and fixes these devices. "It was fun directing this one together because Daniel and I are both products of the early internet and we both had our own similar, but unique bucket of 2000s memories that we both drew from to give the video a maximalist aesthetic. "We feel like in the song there is a duality between the new and the old. And we wanted to make a celebration for the outdated, the incompatible and the base models of all things. Both human and machine."