Director

Alexander Brown

Alexander Brown directs a brilliantly ferocious performance promo for Bloc Party's return to action with Traps.&nbsp;Playing their comeback single, frontman&nbsp;Dele Okereke and his bandmates are effectively trapped themselves, within a seething&nbsp;mass of enthusiastic fans.&nbsp;This is presented in a disorientating fashion, mostly in extreme close-up - this was shot by DoP Pieter Snyman on a probe lens -&nbsp;intercut with the frenetic motion of the crowd, forcing their way ever closer to the group, and at one point dragging a bandmember from a car.&nbsp;The blood-red lighting&nbsp;and indistinct shots of the people surrounding them (they are wearing masks throughout) creates a breathless atmosphere, which matches Bloc Party's unconstrained energy. Overall, it's a brilliantly kinetic and stylish piece of work by Alexander Brown, making one of his irregular returns himself to music videos.[imgtoken data:1]<blockquote>There’s something intrinsically cathartic but also unsettling about being in a crowd.</blockquote>"The basic idea for me, was to make a video which felt like you are in the middle of a mosh pit," says Brown.&nbsp;"After being conditioned by lockdown, there’s something intrinsically cathartic but also slightly unsettling about being in a crowd."I was immediately drawn into the sardonic character Kele created in the lyrics, which is all a bit wild and unhinged and lurid. I wanted to capture that feeling of being in a crowd or a club and not being entirely comfortable with the intimacy. It’s a performance video in all it's&nbsp;glory. I wanted it all to be shot in an unhinged way, as if the band are playing from within the crowd, removing the stage/crowd divide."The camera swings and turns like a headless chicken - and everywhere it turns we unravel a new moment. It feels chaotic but within the chaos we have disorientating, dizzying transitions, and carefully orchestrated setups with surprises and twists and turns along the way. The song is called Traps. So it seemed interesting to have the band feel like they were trapped in this mob and we can’t quite tell if its amazing, or uncomfortable.[imgtoken data:2]<blockquote>I wanted to give the video a touch of&nbsp;The Evil Dead.</blockquote>"It was a conscious decision to give everyone masks. Aside from the safety aspect, I wanted the crowd to be anonymous and menacing - we don’t see anyone’s faces, only their legs, or chest. I want it to feel like a jungle of limbs. They are all wearing dark clothes so there is a homogenous feel to them, threatening."We shot this with a probe lens so we could go right up to the band, and do all sorts of amazing movements. Big thanks to Piet [Snyman] for waving around a metre-long camera completely handheld! We shot this on a Red Komodo, which I think makes it the longest lens, with one of the smallest cameras."Brown adds that the moment when the bandmember is dragged from the on-set car was another touch of madness that the song required.&nbsp;"I wanted to give the video a touch of The Evil Dead, and having the crowd pressed up to the glass, pulling Russel out of the door at the end just seemed to do that. We weren’t sure if we were going to get that on the day as it was the last shot, with twenty&nbsp;minutes to spare we just managed to squeeze it in. It was handy having an incredibly long lens as it means we could poke it right through a car window. "I want to give a big shout out to all the people who came down on the day, the energy we got from the crowd was fantastic!"

United Kingdom

Ellis Fox

Cardel

Carla Mooney

Paolo De Bautista

Pieter Snyman

Sophie Roberts

Delwyn Mooney

Avner Shiloah

Jonny Tully

John Moule

Josh Tue

Patrycja Cygan

Brett Hills

Helio Ribeiro 

Indie Rock

Rock

Bloc Party 'Traps' by Alexander Brown

Bloc Party - Traps (Official Video)

A struggling&nbsp;artist, working alone in an empty&nbsp;country house, becomes obsessed by a golden mask&nbsp;- in Alexander Brown's video for Claptone's Just A Ghost.&nbsp;As the artist becomes increasingly haunted, in his dreams and otherwise, by the appearance of&nbsp;a mysterious masked man and his party&nbsp;guests, Brown concocts a swirling fever dream of a narrative, filled with glimpses of trangressions and tangled visions.The video is for a track from the often-masked dance producer, featuring the&nbsp;unmistakeable voice&nbsp;of Seal, returning after a six year absence.&nbsp;It was shot, appropriately enough, in the house where they filmed that latterday Hammer horror classic The Woman In Black.Alexander Brown tells us about the experience of making the video.[imgtoken data:1]<blockquote>I saw this as an origin story... in which Claptone could comfortably inhabit as a character.</blockquote>What kind of brief did Claptone give you and what were your immediate thoughts when you saw it? When Claptone approached me, the brief was fairly loose. Basically, I could pitch anything, but the focus was to make sure Claptone the character wasn’t mishandled.I sort of saw this as an origin story, not really explaining Claptone, but making the video feel like a story in which Claptone could comfortably inhabit as a character - much in the same was Daft Punk were always viewed as robots, or Gorillaz record at Kong studios. I wanted it to feel like Claptone had a reason for being in this world. I wanted the Claptone mask to be a character itself, a sort of presence in the house.When I wrote the idea, it was the middle of winter, in the middle of lockdown, and I guess the video was riffing on the idea of memories of how much fun it was having parties, being social, and how winter can feel so isolating. Initially, I had the idea of a butler left in a mothballed country house - sort of inspired by Kazuo Ishiguro's Remains Of The Day - someone who has been left behind and finds himself reflecting on times gone by.[imgtoken data:2]<blockquote>I wanted the Claptone mask to be a character itself, a sort of presence in the house.</blockquote>Claptone liked the idea but didn’t want to have someone look like his servant, so we developed the idea into a struggling artist going through a creative block. This was great because it gave him something to do apart from polishing the silverware - though I still think that would have been fun too.Tell us about filming. How was this shot? We shot this in the same house that the 2011 movie The Woman in Black was shot. The house has been renovated over the last three years and a lot of it was a building site, but we were very lucky to have the access. We shot it all in one day, which was a testament to the wonderful crew. We had a great second unit to pick up some of the scenes, as there was just too much to cram in. We had a great team thanks to Ellis [Fox, producer].[imgtoken data:3]What do the masks signify? The masks don’t really signify anything. Claptone wears a mask to DJ, and I wanted him to have some friends who felt as though they occupied the same astral plane as him. I wanted the video to have a Stanley Kubrick feel - Eyes Wide Shut being an obvious reference - but beyond that, I think I just wanted Eduardo (the hero) to feel out of place at this gathering.&nbsp;

Sweetshop

Elle Lotherington

Sam Kinsella

Bernin Isaac

Maria Camilla

James Duffy

Luke Wentzel

Fin O Sullivan

Reggy Brown

Ellie Walker

Coco Hirani

Rich Woolway

Homespun

Connor Coolbear

Electric Theatre Collective

Justin Edmund-White

Dance

Claptone ft Seal 'Just A Ghost' by Alexander Brown

Claptone - Just A Ghost (Official Video) ft. Seal

Avner Shiloah directs a&nbsp;nostalgic meditation on&nbsp;the buoyancy of a child's dreams, for Douglas' Clouds.Juxtaposed with the often harsh reality of adulthood, the video is made up of 8mm footage of the artist's family, combined with footage shot by filmmaker Alexander Brown (who directed James Blake's If The Car Behind You Moves Ahead).&nbsp;The dichotomy of the lo-fi aesthetic in contrast with the emotional story creates a yearning, nostalgic vibe, which is very much inkeeping with the themes of the track.

Gentle Beast Productions, Inc.

Experimental Pop

Douglas 'Clouds' by Avner Shiloah

Douglas - "Clouds"

A man&nbsp;finds himself in an upside-down world, in Alexander Brown's mesmerizing video for Sub Focus and Wilkinson.Employing spectacular drone footage of Canary Wharf in London and a clever use of Steadicam, Brown&nbsp;toys with the viewer's experctations and sense of visual perspective, in a slow-motion rollercoaster where Down is usually Up, and vice versa - and is occasionally vertigo-inducing.Brown's approach - which originated as a lockdown video idea and evolved as film limitations eased - is well suited to this dreamy dance track, with its lyrical references to gravity. Our hero - dancer Mikey Boats - appears to be unbound by such things.&nbsp;

Theo Youngstein

Sam Care

Toby Tomkins

CHEAT

Mikey Boats

Sub Focus & Wilkinson 'Air I Breathe' by Alexander Brown 

Sub Focus, Wilkinson - Air I Breathe

People are rendered monumental,&nbsp;and moments of a life are examined in forensic detail,&nbsp;in Alexander Brown's mesmerising video for&nbsp;Los Angeles' duo Sym Fera.Brown employs a distinctive camera technique, using close focus&nbsp;lenses,&nbsp;to pass across the human body as if it's&nbsp;a landscape, and effectively freeze time. It is a process that allows him to&nbsp;investigate the brutal moments in a character's history&nbsp;that helped to turn him into the unflinching monster&nbsp;he has become.&nbsp;

United States

Adam Nelson

Carolyn Pedrossian

ABPC.UK

Alternative

Sym Fera 'Little Things' by Alexander Brown 

little things

Alexander Brown has done the sensible thing during lockdown. The director has up-sticked back to the family farm, to spend some quality time with his folks.So at the moment, he's spending&nbsp;time restoring the old VW Camper, and devouring the latest Hilary Mantel on audiobook. When he's not worrying the sheep, that is...What were you working on before the lockdown? Having finished my video for Orlando Weeks' Blood Sugar (below) I had just started pre-production on a music video for a US band, to be shot in London. . In the end we decided to put production on hold until after&nbsp;lockdown ends as it was a video requiring people and costumes. I’m now living in the country with my mum and dad. It’s kinda like the Darling Buds of May, but with a lot more shouting.[vidtoken data:0]What are you working on now? I’m currently working on a book design for an upcoming history of the band Idlewild. In my spare time, I’ve turned my attention to restoring my 1972 VW&nbsp;camper van while the sun is shining. The upside of being a director, is that being out of work for months on end is hardly a novel situation. I always have a slew of projects waiting for my attention. The only difference is there’s nothing to pitch on.<blockquote>The thing that makes quarantine so novel, is that everyone else is in the same boat with you instead of paddling alone.</blockquote>What's the most surprising, or least predictable thing, that's happened to you during quarantine? I think being in quarantine has made me value space and being more self-sustainable. I suppose&nbsp;that’s entirely predictable… It’s made me learn how to use a sewing&nbsp;machine and a shepherd's crook, is that better?My mum has a field full of lambs that are doing their best to get infections, so a good hour of my day is spent chasing them around like an idiot trying to&nbsp;catch the ones with squinty eyes. Pro tip - shepherd’s crook makes all the difference.[imgtoken data:1]<blockquote>A good hour of my day is spent chasing them around like an idiot trying to&nbsp;catch the ones with squinty eyes.</blockquote>What's the favourite part of your daily routine? When I feel like&nbsp;I’ve achieved something. It&nbsp;doesn’t always happen.Are things getting harder/better/staying the same? I think things are getting harder now. At first, I liked everything being put on hold, but at this point it’s becoming tedious as the people around me succumb to cabin fever.What have you learned about yourself during quarantine? That I can prepare a meal for five people every night quite comfortably. Though it means I&nbsp;don’t&nbsp;have time for much else. I think quarantine is a fantastic opportunity to learn new skills and apply&nbsp;yourself - the real challenge is maintaining interest and dedication.Best meal you have eaten/are regularly cooking... We made a&nbsp;great&nbsp;<a href="https://www.bbcgoodfood.com/recipes/lomo-saltado-beef-stir-fry" target="_blank">Lomo Saltado</a> a few days ago. Delicious comfort food from Peru.Best thing you’ve watched, or heard, while on lockdown? I’ve been&nbsp;thoroughly enjoying listening to the&nbsp;audiobook of <a href="https://www.amazon.co.uk/The-Mirror-and-the-Light/dp/B07VMFYFQ1" target="_blank">Hilary&nbsp;Mantel’s The Mirror and the Light</a>. It’s something like 36 hours long, so I was hoping it would take me through lockdown. But alas, I may get to the end and need to find something else.[imgtoken data:2]How's your Work/Life balance at the moment? After being freelance for 14 years, you get used to the fallow weeks and months. Most of the time, it feels like&nbsp;you’re never quite busy, nor do you ever stop working. It’s a strange twilight state of mind where every day is like a holiday, but one where&nbsp;you’re constantly thinking, sketching, pitching,&nbsp;planning and stressing over one thing or another. The thing that makes quarantine so novel, is that everyone else is in the same boat with you instead of paddling alone.• Alexander Brown is a director at <a href="https://www.thesweetshop.tv/uk/director/alexander-brown/" target="_blank">Sweetshop in London</a>. His latest video&nbsp;for Orlando Weeks is one of our <a href="https://www.promonews.tv/playlists/videos-month-april-2020/64640" target="_blank">Videos of the Month</a> for April.&nbsp;

Quarantine Q&A: Alexander Brown, Sweetshop

Orlando Weeks - Blood Sugar

Faced with the demands of the Covid-19 lockdown, Orlando Weeks and director Alexander Brown have created an 'iso video' that embraces lo-fi experimentation with wonderfully hypnotic results.Brown sent the ex-Maccabees bandmember a Canon 5D (maybe the one he used when he was launching his directing career a decade ago) for him to self-shoot his performance of Blood Sugar. He has taken that footage and run it through circuit mixers to create distorted visual effects. Weeks's head has become a disembodied graphic form, composed of lines of light, sometimes a sort of inverse sillhouette, other times a face caught in chiaroscuro-profile.&nbsp;&nbsp;&nbsp;This is Brown's first video since his <a href="https://www.promonews.tv/videos/2018/01/26/james-blake-if-car-beside-you-moves-ahead-alexander-brown/51519" target="_blank">James Blake video for If The Car Beside You Moves Ahead</a> - another fascinating exercise in visual distortion. The current situation may have instigated it, but like his Blake video the results of the experimentation are not just lockdown-specific. They work entirely on their own terms.

PIAS

Indie

Orlando Weeks 'Blood Sugar' by Alexander Brown

Alexander Brown&#39;s new video for James Blake is an automotive dream, brilliantly calibrated to match the rhythms and experimental cut-up vocals of the track. In this Q&amp;A on the making of <a href="http://www.promonews.tv/videos/2018/01/26/james-blake-if-car-beside-you-moves-ahead-alexander-brown" target="_blank">the video for If The Car Beside You Moves Ahead</a> - the first track since Blake&#39;s 2016 album The Colour in Anything &ndash; Brown explains that the secret of the success of this beautifully sleek promo was by keeping things small. And by shooting both in LA and just outside Derby...&nbsp;What kind of brief did James&rsquo; present to you and what were your immediate thoughts when you saw it?Early on, James explained the song was initially about comparing yourself to other people. Specifically, that feeling when you&rsquo;re in traffic it always seems like you&rsquo;re in the slowest lane.James had this video reference of a guy driving through Moscow that he&rsquo;d seen online. When I watched it, it had such an incredible quality and smoothness to it. But it was, in of itself, a fairly pedestrian YouTube video. As it turns out - recording your motorway journey and posting it online is kind of a thing. But I knew exactly what made that video stand out and why it felt right for the song. It had a hypnotic compelling quality that I wanted to try and capture.[imgtoken data:1]The important thing for me was to make a film that wasn&rsquo;t mundane, but had that magic to it that is present in the music. Every time I drive on the motorway, I am always struck by the way lights reflect on the bodywork of cars. They&rsquo;re mirrors which distort their reflections, and there is a real rhythm there. It was always in the back of my mind as something that would work in a video.Tell us about the filming.We took a completely lo-fi approach to filming, rather than over-engineering anything. Capturing this sort of thing is tricky with a film camera as it&rsquo;s so dark. So, I shot it using my very basic camera. It was weird to shoot a music video for such a high-profile artist on the camera I normally take with me on holiday. But with conventional cinematography, it wouldn&rsquo;t have worked the same, and would have blown the budget with all the road closures and permits. Keeping it small meant I could shoot for longer with a much smaller crew &ndash; sometimes just on my own.<blockquote>&quot;We used a&nbsp;1991 Corvette.&nbsp;It felt like the designers had probably watched&nbsp;Top Gun&nbsp;and Tim Burton&rsquo;s&nbsp;Batman&nbsp;and designed a car around it.&quot;</blockquote>We didn&rsquo;t want a car that was too swish, but it needed personality. We ended up using a 1991 Corvette. It&rsquo;s absolutely insane. The dashboard and the dials look like something from an aircraft carrier. It felt like the designers had probably watched Top Gun and Tim Burton&rsquo;s Batman and designed a car around it. It really feels like a product of its time. A sort of poor man&rsquo;s sports car.[imgtoken data:2]Filming was a long process. It was about a week&rsquo;s worth of driving around LA and the UK with a camera mounted to the car. I wasn&rsquo;t sure what I was shooting as the camera was mounted to the glass outside. It&rsquo;s very disorientating to not know what you&rsquo;ve actually shot. You need to be really patient and just keep driving. An hour of driving gives you about 2 minutes of footage. Of which maybe 15 seconds of that is interesting.This is such a homemade film. I shot it all myself and it&rsquo;s much more of a hands-on, experimental approach than I&rsquo;m used to.You shot in LA and the UK? What were the differences?Los Angeles has some fantastic locations to shoot. There are also lots of incredible bridges, highways and overpasses and city skylines. The most important thing to consider was that we found areas which are well lit and have rhythmic streetlamps. Lights that undulated and echoed the stuttering feel of the music. The main issue with LA is the traffic! The roads are constantly busy. We had a window of maybe 90 minutes every night where the roads were quiet enough to be able to drive without frequently stopping.[imgtoken data:3]I live between the UK and LA, and after the main shoot I was back home I noticed there were way more lights on UK roads than in the US. I got a small kit together and went shooting, so some of the footage in the video is actually on the A50 near Derby! The weather though, is not the same - I ended up playing leapfrog with the gritters. Every time I set it up the camera, I passed a gritting machine which would spray salt water all over my lens and I&rsquo;d have to stop and try my best to clean it. Meanwhile the gritter would overtake me again!<blockquote>&quot;Someone will get the video whether they watch it for 30 seconds or four minutes and that&rsquo;s important when people rarely watch content until the end.&quot;</blockquote>And the tone?The video is entirely visual, it has no narrative or structure, it&rsquo;s simply the feeling of a drive. Shooting in LA gave us that&nbsp;Drive/Nightcrawler&nbsp;aesthetic, which suits the ominous tones of the track. There is a cinematic quality to the music which fits this really well. Something akin to The Chemical Brother&rsquo;s video for &lsquo;Star Guitar&rsquo;. Something you can just take for what it is, or you can get completely absorbed by.The track works so well with the video. How did you engineer this?This song in particular has such a hypnotic, haunting quality. In the video not much is happening, but whatever is happening is completely related to the music. It&rsquo;s like a visual kaleidoscope. The visuals are mesmerizing rather than being a narrative for the music. Someone will get the video whether they watch it for 30 seconds or four minutes and that&rsquo;s important today when people rarely watch content until the end now. We created the feeling that the music and the visuals are in harmony, with different elements of the scenery reflecting different moments in the music.[imgtoken data:4]What was it like working with James Blake?Working with an artist like James is such a privilege, his music has so many intricacies and details that makes the video process so enjoyable.Every time we have worked together, his initial brief has been so restrictive &hellip; but in a really good way. It&rsquo;s challenging, but the emotion is always the same:&nbsp;how am I going to make this work?&nbsp;How can I deliver the concept without it falling flat?When I made the video for Wilhelm Scream (which is literally a blurry video of James) the initial brief was - can you make a video like the album artwork? It&rsquo;s easy to say &#39;yes&#39; to, but then when you actually start working you realise you have to make something that will still carry the audience. It was the same with this. Four minutes of beautiful nothing.[imgtoken data:5]So often you get sent an open brief that could go in any direction, but I actually prefer having something like this where you have something to work against.Was there anything from shooting that you wanted to include but you couldn&rsquo;t?Because James is about to go on tour with Kendrick Lamar we did play around with this nutty idea of getting Kendrick in the video as a sort of intro skit where he takes off in his Maserati car and James would be driving a 1991 Corvette. In the end, I think we decided it would be too wacky for the song, but I do like the idea of it. James sort of lives this LA rap lifestyle, and yet he&rsquo;s a pretty normal sort of guy from the UK. I like that contrast.What&rsquo;s next up for you?I&rsquo;m just finishing a short film actually. It&rsquo;s nothing like this! But it&rsquo;s such a wonderful journey to take a project from script through to finishing all on your own. I can&rsquo;t wait for it to be finished though!&bull; Alexander Brown is represented at The Sweet Shop.&nbsp;Thanks to Kate Neill and Morgan Whitlock.​Video credits <a href="http://www.promonews.tv/videos/2018/01/26/james-blake-if-car-beside-you-moves-ahead-alexander-brown" target="_blank">here</a>.&nbsp;&nbsp;&nbsp;

Alexander Brown on James Blake's 'If The Car Beside You Moves Ahead': "We took a completely lo-fi approach."

James Blake - If The Car Beside You Moves Ahead (Official video)

James Blake&#39;s new track, featuring astonishing cut-up vocals from Blake, has inspired a brilliant visual accompaniment&nbsp;from his longtime collaborator Alexander Brown.Under Brown&#39;s auspices, Blake takes to the wheel of a 1991 Corvette for a night-time drive through LA. And just as Blake experiments with his sound, Brown disrupts the realism of Blake&#39;s drive, subtly distorting and vibrating as well as speeding up&nbsp;the footage, and orchestrating light to match the music. The result is completely mesmerizing.Blake and Brown go back a long way - all the way to <a href="https://www.youtube.com/watch?v=isIABK-0ohQ">The Wilhelm Scream</a>, seven years ago. But this takes their creative partnership to a new place altogether. &nbsp; &nbsp;

Laura Thoel

Semera Khan

Marco Grey

Polydor

James Blake 'If The Car Beside You Moves Ahead' by Alexander Brown

Alexander Brown&nbsp;collaborates with Carmen Rosa on her debut single, to create a dark and sensual performance piece that taps into Carmen&rsquo;s South American heritage.The mostly black and white clip sees Carmen perform with just her face and her naked shoulders visible, in a shadowy room. Golden hands begin to touch and embrace her body as she makes a transformation into an Incan Goddess, rich with a headdress of golden hues. An intimate, stylishly minimal and celebratory piece of work. &nbsp;

Rosie Owen

Tim Sidell

Michael Hobdell

Christopher Starkey

Robin Brigham

Dorita Nissen

Alessandra Milani

The Play Room

Juliet York, Mel Gungor, Cameron Eaton, Rosie Bretherton

Lateral Management

Carmen Rosa 'Wild One' by Alexander Brown

Carmen-Rosa-'Wild-One-'-by-Alexander-Brown

Alexander&nbsp;Brown&nbsp;and a svelte production&nbsp;crew joined Marlon Roudette on a trip to the hip-hop/reggae singer&#39;s&nbsp;native&nbsp;St.&nbsp;Vincent in the Caribbean in early July to shoot the fun and festivities of carnival for his new track Everybody Feeling Something.The result is a video bursting with the&nbsp;vivacity of the Vincentians in full party-mode. And there was certainly no problem with the weather...&nbsp;[imgtoken data:1]

Holly Harding

Spencer Dodd

Chris Roebuck

Cut+Run

Reggae, Hip Hop

Marlon Roudette 'Everybody Feeling Something' by Alexander Brown

Alexander Brown has directed this video for Rainer&#39;s Nocture, drawing inspiration from a friend who discovered she had Ehlers-Danlos Syndrome, or &#39;EDS&#39;,&nbsp;which swiftly ended her dream of being a dancer.&nbsp;And the video dramatizes the difficult&nbsp;transition for someone who has to renounce something they love doing, with the ensuing&nbsp;depression, physical and mental illness, her ambitions crashing down around her...

Guy Darby

The Playroom

Rainer 'Nocture' by Alexander Brown

Alexander Brown delivered&nbsp;this&nbsp;tasteful, bittersweet video for the Marlon Roudette track When The Beat Drops Out last year to a German audience.&nbsp;Employing&nbsp;some elegant&nbsp;cinematography by Tim Sidell, the piece starts out soothing and uplifting, with breathtaking view&nbsp;from Marlon Roudette&#39;s modern upscale&nbsp;house.&nbsp;It&#39;s a story on a timeless theme, of fame and wealth being no guarantee of&nbsp;happiness. The&nbsp;couple is striken with ennui, isolated and distanced from each other - literally -&nbsp;on separate sides of their beautiful yet unfinished home.&nbsp;Looking back on the&nbsp;exciting, happy times that kept them together,&nbsp;Roudette wonders&nbsp;if love can last. &nbsp;

Gail Mosley

Gwen Norcliff

Lewis Crossfield

Marlon Roudette 'When The Beat Drops Out' by Alexander Brown

Commissioned to design artwork for Belgium artist Selah Sue&#39;s new album Reason (March 30) - the follow-up to her multi-platinum&nbsp;debut, promo director Alexander Brown follows through with designing and directing the video for first&nbsp;single Alone in which he also applies post FX.

Belgium

Holly Abey

Mark Dean

Nelson Oliver

Lucie Red

Because Music

Selah Sue 'Alone' by Alexander Brown

Alexander Brown has brought together the greatest collection of retro phones you&#39;ll ever see in his video for La Roux&#39;s massively catchy&nbsp;Kiss And Not Tell.Based around the phone sex industry&#39;s heyday in the 90s (although, as it&#39;s La Roux, it feels like the 80s)&nbsp;Ellie La Roux enjoys herself as a secret caller, in which her true influence is eventually displayed in rainbow colours.

Jelly London

Annabelle Dunbar-Whittaker

Pop, Electronica

La Roux 'Kiss And Not Tell' by Alexander Brown

La Roux - Kiss And Not Tell

Alexander Brown finds a unique way of saying &quot;sorry&quot;, in his humourous and bittersweet&nbsp;promo for Lewis Watson&#39;s As If. Shot in the quiet, leafy suburbs of Harrow, Lewis is&nbsp;placed in situations that are saying anything but...

Adam Farley

Tasha d'Ancona

Mark

Duncan Telford

Jayne O'Hanlon Trusselle

Emily Bilverstone

Lock It In

Warner Music

Singer-songwriter

Lewis Watson 'As If' by Alexander Brown

Alexander Brown delivers this highly atmospheric, driving and tasteful video for Waylayers&#39; SOS that captures night-time London in a cool and original way.Alexander harnesses the sweet electronic atmospherics within the soundtrack - powered by beautiful work from DP Sam Care. Alexander says: &quot;When the band approached me to do a follow up video to Magnets I was immediately taken by SOS and its driving rhythm. I had the idea of trying to make something as epic and cinematic as films like Drive that manage to conjure up a retrospective vision of the present, creating a world of gearboxes and the city&#39;s neon-lit underbelly.&quot;I knew from the beginning we were never going to be able to shoot in LA, but I always enjoy the challenge of trying to make the UK more epic. It&#39;s always a challenge shooting London in a way that doesn&#39;t look too provincial or something we&#39;ve all seen before. &nbsp;&quot;With a customised truck, hand finished costumes, about a million locations and an incredible crew pulling together over a bank holiday weekend, we really threw everything at this one.&nbsp;&quot;I think it&#39;s a real achievement of teamwork and willpower so its amazing it came out this well. So thank you to everyone involved!&quot;&nbsp;

Mark Whelan

The Quarry

Jayne O'Hanlon

Steve Gatti

Nice & Polite

Waylayers 'SOS' by Alexander Brown

Waylayers : S-O-S

Alexander Brown teams up with Jamie Cullum to make this perfectly realised one shot promo for his new single Everything You Didn&rsquo;t Do. Shot in a huge empty space, Alexander&rsquo;s lively promo focuses on the performance where Jamie and his band give it their all.
Alexander on shooting &lsquo;Everything You Didn&rsquo;t Do&rsquo;
&ldquo;What I really wanted to do with the video, was to get Jamie away from the grand piano and that whole jazz band aesthetic &ndash; given the songs poppy style &ndash; I wanted to make something that felt quite stripped back and simple.
&ldquo;I really like the live film for Talking Heads&rsquo; Stop Making Sense, where the band grows between each song, starting with David Byrne on his own and ending with a big band. So I thought it would be fun to try and do this in a one shot style video.
&ldquo;We didn&rsquo;t have much time for pre-production (about four days) but I planned out the whole video on a 3D program, so every shot was timed and storyboarded perfectly so we had everything worked out before the shoot. We had an incredible steadicam operator who really put everything into the shoot, and Sara Deane was once again amazing.&rdquo;

James Dyer

Sara Deane

James Layton

Jerry Bland

Susan Hildebrandt

Emma Lamp

Harriet Thompson

Mike Mooney

Jamie Cullum ‘Everything You Didn’t Do’ by Alexander Brown

UK singer-songwriter Gabrielle Aplin releases her cover of Frankie Goes To Hollywood&#39;s The Power Of Love following its use in the John Lewis Christmas campaign and teams up with Alexander Brown for the video.Alexander matches the minimalist, effortless charm of the soundtrack placing Gabrielle in a vast rustic mansion, where seated at her piano, gives a simple, no frills performance.

Flaura Atkinson

Jayne O' Hanlon

Steve G

Sam Seager

Gabrielle Aplin 'The Power of Love' by Alexander Brown

Gabrielle-Aplin-'The-Power-of-Love'-by-Alexander-Brown

Following a year building an online following (two million hits on his Youtube channel), Oxford-born singer-songwriter Lewis Watson joins forces with Alexander Brown for this atmospheric promo to Sink Or Swim - from his forthcoming EP Another Four Sad Songs.Matching the melancholy of the lyric, Alexander shoots the 19 year old braving the hideous English weather, performing alongside various stretches of water - a river, a deserted swimming pool and the coast - ending with an impressive dive...

Aggie Balogh

Luke Graham

Sam Jones

Lewis Watson 'Sink Or Swim' by Alexander Brown

Lewis-Watson-'Sink-Or-Swim'-by-Alexander-Brown

Accompanied by a roomful of floating ball-bearings that have broken loose from an executive toy, Waylayers singer Harry Lee gives a great emotionless, dead-pan performance of Magnets in Alexander Brown's highy watchable promo.

Ben Todd

Thomas Grove Carter

Christopher Tulloch and Tim Booth

Luke Morrison

Waylayers 'Magnets' by Alexander Brown

Waylayers-'Magnets'-by-Alexander-Brown

For Liam Bailey's summery, lilting It's Not The Same, Alexander Brown shoots the singer as he picks up his guitar and heads for the beach in this beautiful, hazy promo shot in Cuba.

Gail Davey

Davey Inc

OB Management

Emily Tedrake

Liam Bailey's It's Not The Same by Alexander Brown

Drifting in and out of focus and in perfect sync with the minimalist, heavily introspective music, Alexander Brown's promo for critically-acclaimed James Blake is hypnotic. 
Capturing the left-field mood and with some double imagery at play for the harmony, the promo and the soundtrack become seamless.

Ross Anderson

James Blake’s The Wilhelm Scream by Alexander Brown

Alexander Brown prefectly recreates the loose, rousing feel of Pete Lawrie's Fall Into The River with this 'as live' performance promo complete with boozy, small club mock-up. 

Watch: <a href="http://www.daveyinc.com/directors/alexander-brown/pete3/" target="_blank">here</a>
Pete Lawrie <a href="http://www.petelawrie.com/" target="_blank">website</a>

Steve Annis

Sophie Lopez

The Mill

Ailsa Robertson

Aubrey Woodiwiss

Pete Lawrie’s Fall Into The River by Alexander Brown

Following <a href="http://www.promonews.tv/2010/08/05/pete-lawrie%E2%80%99s-all-that-we-keep-by-alexander-brown/" target="_blank">All That We Keep</a>, Alexander Brown's second video for folk-popster Pete Lawrie perfectly matches the acoustic sing-a-long of In The End with a contrast of a lightbulb-charged studio shoot and a series of evocative outdoor scenes.

Alexander Brown/Blake Claridge

James Rose

Cut & Run

Pete Lawrie’s In The End by Alexander Brown

Shot earlier this month at the Rivoli Ballroom and in and around Brockley South-East London, Alexander Brown directs this wonderfully provincial, retro and very British promo for Carl Barat's Run With The Boys. There's nothing like a night out with the lads, eh...

James Tillett

Prime Focus

Carl Barat’s Run With The Boys by Alexander Brown

Carl-Barat’s-Run-With-The-Boys-by-Alexander-Brown

Shot in and around the New Forest for that lazy summer wide-open feel, Alexander Brown's soft-focus promo for Welsh singer Pete Lawrie's All That We Keep echoes the breezy, lilting feel of the track to good effect. 
Lawrie releases his debut album A Little Brighter later this year on Island imprint Field Recordings.

Watch: <a href="http://www.daveyinc.com/directors/alexander-brown/all-that-we-keep/" target="_blank">here</a>

Mika Vaso

Pete Lawrie’s All That We Keep by Alexander Brown

Alexander Brown - subject of an article on new directing talent in the current SHOTS magazine - gets his teeth into the slacker rock vibe of Matthew P's Gilly. Set in an American-style diner (actually Ace Cafe in London) Brown coaxes good performances from the assembled cast to compliment the breezy track. 

Watch: <a href="http://www.daveyinc.com/directors/alexander-brown/gilly/" target="_blank">here</a>

Matthew P's Gilly by Alexander Brown

Alexander Brown

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