Berlin-based multidisciplinary director Anna van der Velde presents a brilliant vision for experimental electronic artist Actress.Van der Velde's video for Overchord - the second single of the forthcoming album Radical Frame - is utterly transfixing; a sleek yet mysterious visual that mirrors the artist's exploration of identity and authorship in the new album.Built as a frame within a frame within a frame, the video continuously shifts the viewer’s perspective, questioning where power resides: within systems, within the artist, or within the act of creation itself. Van der Velde employs the elements of her practice - in particular the combination of production design, costume and VFX - to explore ideas about creativity. The Overchord visual is an introspection on the structures that govern artistic expression and the tension between external power and internal agency. Rather than offering fixed answers, the film asks the question: is creativity something harnessed by systems of power, or is it the greatest form of power?It is a valid question because although she has called upon considerable talents here to make this film - including costume designer Lucy James and production designer Hugo Harris - the vision is coming from Anna van der Velde. And she is not just a director, she really is an artist.

Olivia Rose channels the intensity of three powerful artists uniting to celebrate their similarities: Bristol DJ and producer Wilfy D with rappers Lancey Foux and Pa Salieu.Rose's atmospheric promo for the high energy Peas In A Pod. focusses on the artists' bold performances via Rose's distinctive portraiture and a raw, minimalist setting that instils the core message of their shared underground roots.

Singer-songwriter Dafna acts out her crazed wedding fantasies in Reece Daniels' quirky and entertaining promo for Luvrgirl. The video finds Dafna in a dimly-lit room, examining her model wedding with growing frustration - and then smashing her handmade model church to pieces, before she and her back-up dancers move out of the shadows into the open air, with a mannequin bridegroom. As things grow into a fever dream of colour, movement and textures, Dafna and Reece Daniels dial up the sense of eccentricity and unabashed fun, A fine introduction into the LA-based singer's world.

Ivana Bobic directs a love letter to underground culture, with Nia Archives diving into the hazy final moments of a night out.Bobic's video for There Goes Ma Head takes us through a club when dancefloor has emptied and only the last ravers remain. Shot on iPhone entirely in stark black and white, Nia performs the track within a cyclical narrative that grows increasingly surreal with every repetition.The club becomes a labyrinth; she turns left, then left again, and left once more, only to find herself back where she started. Trapped in an endless loop, each cycle becomes stranger than the last, with familiar faces and fleeting moments taking on an increasingly dreamlike quality.It's also heavily influenced by - and even a homage to - a seminal British dance video of the 1990s, Walter Stern's video for The Prodigy's No Good (Start The Dance). “The Prodigy video was a huge reference for Nia, taking her back to her club roots, which really resonated with me too," explains Bobic. "Inspired by the album's spiral theme, I built the film around a looping narrative that becomes more surreal with every cycle, reflecting the feeling of being trapped in your own head."Creating an authentic 4am club atmosphere was essential, so we filled the space with haze, lights and loud music to immerse everyone in the experience."Shooting on iPhone gave us the freedom to move instinctively and stay close to Nia, capturing the raw energy of each full take. Everything was designed to become a visual manifestation of spiralling thoughts and losing yourself in the moment."

Eseosa Ohen directs a dazzling lo-fi promo for Shayk, inspired by Birmingham's motto - simply 'Forward'. The video leans into the irony of a city suspended between progress and decline, its story unfolding through the eyes of a motorbike. Taken, repurposed, and learning to adapt, it reflects Brum itself. Its journey becomes a quiet stand-in for growing up in instability.Opting for a digital, mini DV-style aesthetic, the visual feels incredibly fresh and authored, imbued with a sense of home video nostalgia that ties the project to the city it was born from. Standout work.

Music Video Preservation Society is heading to Sheffield, with its first meeting at Showroom Cinema on Thursday, September 10th. And MVPS will be going local with a programme celebrating the crucial role played by the Steel City in forging the history of British music videos. Bringing an eclectic programme featuring some of the most iconic and visually inventive pop promos ever made, from the 1970s to the 2020s, this Society meeting is an opportunity to focus on Sheffield and the city’s significant contribution to music video history - on both sides of the camera.From the new electronic music from Cabaret Voltaire, Human League and Heaven 17, going hand in hand with the emergence of music video as a new visual medium in the late 70s; there has been a strong connection between Sheffield-made music and music videos - also often made in Sheffield.MVPS host David Knight will be showing some fantastic work that highlights Sheffield's contribution to music video art and culture - and revealing the people and digging into the stories behind the videos.So we will have Pulp's breakthrough in the mid-90s; extraordinary fusions of sound and vision from Warp Records, including Aphex Twin's collaborations with Chris Cunningham; Dawn Shadforth's remarkable videos for The All Seeing I; and Arctic Monkeys' videos and team-up with Warp Films to make short film Scummy Man; - and much more besides.It will be a special meeting of Music Video Preservation Society at Showroom Cinema in Sheffield - with special guests. Tickets to the show on September 10th here.