Head of Music Video

Callum Harrison

The Director's Cut of Marc Oller's video for Arlo Parks' Weightless arrives, and adds weight to the symbolism around a story of a&nbsp;couple falling out of love.Oller employs powerful visual metaphors to tell the tale, which are given free rein in this version: Arlo in a car with no driver, a house breaking apart, cars crashing, and perhaps most powerfully of all,&nbsp;a wild horse having escaped from its captor, running free&nbsp;in the city.Within these scenes, Parks herself comes across strongly, performing the song which is the first release from her forthcoming album, My Soft Machine - the anticipated follow-up to her Brit and Mercury Prize-winning debut Collapsed In Sunbeams.[imgtoken data:1]Shot in Serbia last December, Oller says that ‘’we followed the brief of how a lover gets tethered to the idea of someone, either to how good it felt at the beginning or how close things are to looking up, whilst also wanting to present Arlo in a way that her fans had not seen before." He adds that this presented various challenges on the shoot, particularly due to bad weather affecting the production."We had to recreate the exact same room we were shooting in an apartment, then wreck it with a bulldozer," he says. "The construction team was outstanding."[imgtoken data:2]So was the horse, called Asa - who is a magnificent presence in the video, captured wonderfully by DoP Zach Spiger and his team. "Asa was a great actress - we all fell in love with her and she actually made our lives easy," says Oller. "Unfortunately, it was raining heavily and the shoot was constantly interrupted by the storm. This tightened our schedule and we had to sacrifice many shots that we had planned on shooting."&nbsp;Shot on film, which also presented challenges in terms of finding the right kit for "an old school kind of shoot", Oller adds that he was supported by both familiar and new collaborators to achieve his goals.[imgtoken data:3]"They were all amazingly talented and invested in the project," he declares. "Zack Spiger is an old collaborator - we shot a short film back in the day when I lived in Tokyo; Vicki Viñas is one of my longest time collaborators and she’s an outstanding art director and has the best taste; Alberto Ojeda is one of the best steadicam operators in Spain; and Ana Cano is my oldest collaborator and my ‘go-to’ for hair and makeup."And I loved working with our new Head of Music Videos at CANADA, Callum Harrison, who always challenged me to keep pushing the boundaries of creativity and was a great support."[imgtoken data:4]

Serbia

Marc Oller

CANADA

Sara Renteria

Anna Bacardit

Débora Zhang

Zack Spiger

Vicki Viñas

Lane Casting

Fouad Gaber

William Kjarval

Cyber Few Good Men

Vuk Marjanovic

Lewis Munday

Emilie Louizides

Natalia Vega

Ana Cano

Alberto Ojeda

Arlo Parks 'Weightless' (Director's Cut) by Marc Oller

Arlo Parks - Weightless (DC)

Roger Guàrdia directs a darkly romantic&nbsp;promo for bachata artist Romeo Santos&nbsp;and&nbsp;Rosalía's collaboration with&nbsp;El Pañuelo.&nbsp;Across a series of interconnected vignettes, we see the artists perform individually - and briefly together - intercut with the dramatic interplay of two dancers, who are simultaneously part&nbsp;of and an exception to the world on-screen.&nbsp;Imbued with a contemporary gothic style, the video is washed in a vibrant red and black colour palette, and boasts slick set design, breathtaking fashion and a truly captivating aesthetic.&nbsp;[imgtoken data:1]Guàrdia connects the distinctive vignettes through colour choices, cinematography and an abyss-like backdrop, which is seemingly endless and full of haunting beauty in every direction.He was inspired by a line in the lyrics of the song,&nbsp;El amor ciego te quita poder, which means 'blind love takes away your power.' Guàrdia notes that “it came to my mind the vampiric side of passionate love. It can be really intense, illogical, emotional, until it sucks all your energy away.”

United Kingdom

Laia Ateca

Chino Castilla

Roger Guàrdia

Marco Sroka

Christy Alcaraz

Sara Renterí

Park Pictures

Daniel Fernádez Abelló

Luigi F Rossi

Francesco Rizzo

Justin Pollock

Jackie Kelman-bisbee

Javier Romero

Valentina Carmona

Ignacio Gimenez

Aitor Bigas

Javier Botella

Marina M. Campomanes

Martes Studio

Romeo Santos, Rosalía 'El Pañuelo' by Roger Guàrdia

Romeo-Santos,-Rosalía-'El-Pañuelo'-by-Roger-Guàrdia

<h3>Callum Harrison has produced some iconic videos. Now he has a big new job - Head of Music Videos &amp; Content at CANADA. We talked to him about his achievements so far,&nbsp;and his main objectives in his new role.</h3>From working with Oscar Hudson on groundbreaking music videos for Radiohead, Loyle Carner and others, and with the likes of Yoni Lappin, and Zhang + Knight, Callum Harrison has produced some of the most impressive work in British music videos of the past few years.&nbsp;&nbsp;Harrison was also involved in the start-up of Ground Work, a production company that has since gone on to make award-winning and commended videos too. It was that background that made him the compelling choice to become the new Head of Music Videos &amp; Content at CANADA, the production company based in Barcelona, London and Los Angeles, earlier this year.&nbsp;&nbsp;Harrison is now EP of CANADA's music-based content, working mainly out of the company's London office. He is tending&nbsp;to a roster which contains directors of various nationalities, but also retains a distinctly Barcelonian identity - epitomised by <a href="https://canadacanada.com/directors/lope-canada/" target="_blank">Lope Serrano</a>&nbsp;and <a href="https://canadacanada.com/directors/nico-canada/" target="_blank">Nicolás Méndez</a> - aka directing duo CANADA - who co-founded the company with head of production Alba Barneda,&nbsp;and gave the company its name.&nbsp;Whether that proves a cultural or even a linguistic challenge, Harrison's reputation as an effective&nbsp;collaborator of top directing talent comes from years of first-hand&nbsp;experience. Harrison, 32, is from&nbsp;North London, and in tried-and-tested fashion, he got involved in filmmaking early, before making it his career choice.<blockquote>One of the most important things is to create an environment where talented people can have fun and&nbsp;express themselves.</blockquote>"I’ve never really been one to get behind the camera myself," he explains.&nbsp;"But I was surrounded by people with cameras, so there was always someone filming something. I grew up in the era of&nbsp;Jackass&nbsp;and&nbsp;Dirty Sanchez, so we were often trying to recreate stupid stuff like that."As his original ambition was to be involved in recording music, his first serious involvement on a film set&nbsp;was as the sound man - until he realised that being a producer put him at the heart of the creative process.A few years later he was working with Oscar Hudson on some of his innovative music videos and also his daringly-shot short film Joy In People, which involved secretly filming actor/comedian Meredith Colchester among groups of testosterone-pumped males, mainly England football fans, but also at a far-right political rally.&nbsp;Harrison's producing credits also include videos for King Krule, Sigrid, Ashnikko and Jeshi, and commercials for Adidas, Levi's and Google. We asked him about some of this memorable work, and also what he now wants to achieve in his new role at the company which won Best Production Company at last year's UKMVAs.[imgtoken data:1]Above: Callum Harrison, Head of Music Videos &amp; Content&nbsp;at CANADAHow did you get your start in filmmaking as a career? And what was it that prompted you towards becoming a producer?I have a bit of a funny path into filmmaking. I studied Sound Engineering and Music Production&nbsp;[at Point Blank Music School].&nbsp;I wanted to get into music studios and record bands. At the time a lot of my friends were making films and they needed someone to record sound. I happened to know how to use a microphone and a mixer, so I got roped in. I used a broom as my boom on those early shoots!I also started working with <a href="http://www.timandbarry.com/tim-and-barrytv/" target="_blank">Tim &amp;&nbsp;Barry TV</a> on their live stream show JUST JAM. That is actually one of the only times I’ve picked up a camera. I was shit at operating, so I got moved to the sound mixing desk pretty quickly. I have incredible respect for sound mixers, but I found it quite a lonely and thankless task. I wanted to be more involved creatively. The producers looked like they had the director's ear, so I chose that.<blockquote>We all just hustled to get these videos made any way possible.&nbsp;</blockquote>From that point I just got on any set I could get access to to get experience. There was a good group of us all trying to get things made any which way possible.&nbsp;It helps to have that support network.Not that you asked, but my advice to people starting out would be to try and attach yourself to a group of likeminded filmmakers and just make stuff. That way you can all help each other learn and grow. Don’t let budgets or not having access to ‘premium’ kit stop you. People will take notice of good ideas.What was the first music video you produced? Was that with Oscar Hudson?The first music video I produced was for <a href="https://www.instagram.com/p/BFobIUWKyu2/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">one of the blips for the Radiohead album Moon Shaped Pool</a>. It was indeed with Oscar Hudson. Like many of my early projects this was a steep learning curve. The budgets for those blips were £5K, and somehow we managed to pull it off. We were all just super eager to make films, especially one for Radiohead, so we threw everything at it.<script async="" src="//www.instagram.com/embed.js"></script>I did the catering on that shoot. And&nbsp;I also had to drive all of the sand to a local school for them to use, then we all swept up the remaining sand for what felt like an age. We all just hustled to get these videos made any way possible.Name a video that was really important in building experience to becoming a good producer, and why?I’m not sure if there is one specific video that I can point to but I always try to take something from every shoot I do. I’m still learning now of course and it’s a pleasure to get to work with incredibly talented people that I can learn from.One of the most important things for me as a producer is to create an environment where all these talented people can have fun and express themselves as best as possible.[vidtoken data:0]Tell us about Oscar Hudson's short film Joy In People&nbsp;that you produced. How did that project come about? How difficult (and how nerve-wracking) was that to make?Very nerve-wracking, very difficult, but also very fun. This is still one of the most enjoyable filmmaking experiences I’ve had. It was such a different way of working. Oscar came to me with the script, and we had about two months to get everything in place before Euro 2016.We needed to be as inconspicuous as possible, so we kept the crew to an absolute minimum: Oscar, myself, DoP&nbsp;Ruben Woodin Dechamps, soundman Luke David Harris - and of course our actor, Merry Colchester.<blockquote>The far-right Pegida march with Tommy Robinson was particularly nerve-wracking.</blockquote>The script had narrative beats that we needed to hit, and we sent Merry out into crowds with that in mind. But the best stuff we got was not scripted. As a result, the script continually evolved whilst we were filming.There were a few hairy moments when we were nearly rumbled. But overall we were far enough away from the action so as not to rouse suspicion. The far-right Pegida march with Tommy Robinson was particularly nerve-wracking.[vidtoken data:1]You produced Yoni Lappin’s influential Mura Masa video for What If I Go? What do you remember from that production?This was a wild one. We were super-ambitious... or perhaps naive?&nbsp;There was way too much to shoot in two days. We used my small fourth floor flat as a unit base for cast, crew, equipment - and I laid on the catering again. I think I cooked a massive veg curry.<blockquote>It was amazing and strange to see the ripple effect this video had on wider culture.</blockquote>It was a stressful shoot. We set off the fire alarm at the Ace Hotel and then we got kicked out of another location so we had to improvise that set up.But after all that... incredible respect to Yoni for putting together that great music video. It was amazing and strange to see the ripple effect this video had on wider culture.[vidtoken data:2]&nbsp;What was the backstory of Zhang + Knight's&nbsp;film for Eden about a vintage plane being transported across Kazakhstan? What were the challenges on this job?I had worked with Zhang&nbsp;+ Knight on a Sigrid video earlier in the year so it was great to collaborate again.&nbsp;I suppose there are a few ways you can read this film but for me, it is about people and things (inanimate or otherwise) that have passed their prime and as a result society has cast them aside. These subjects still retain an element of beauty but it is clear the weariness and repetitiveness of life has worn them down.&nbsp;I love how Z+K can create so much emotion and empathy for an old piece of metal.In terms of challenges, it is always a bit of an unknown filming in a new country but the Kazak producer, Ali Beisekov, did a good job and managed to find us that beautiful plane. In general the crew were good and Kazakhstan has some incredible locations to offer. One of the main challenges was shooting everything at either sunrise, sunset or night so we were operating on minimal sleep.&nbsp;We nearly missed our plane home - airport security did not want to let us through with the 35mm rushes.[vidtoken data:3]Jamie Whitby's video for Glass Animals' Your Love mixes thermal imaging with motion control. The effect is very cool. How did you manage that? We had a motion control move mapped out, which we repeated on a 'normal' camera and then a thermal camera. The set, and a few other elements, were captured on the normal camera and the band's action was captured on the&nbsp;thermal camera.As the camera move was the same it meant each shot could be layered on top of each other*, so you get that cool effect of thermal imagery on top of normal imagery. *Not actually that simple in practice, lots of fiddling around in post to be honest.Tell us about the challenges of Loyle Carner’s Ottolenghi. Brilliant video - how did you do it?Sadly, I didn’t do the catering on this one, but despite that, we still managed to pull it off.This was such a fun shoot to be a part of. Everyone on set was fully behind the idea and pulling in the same direction. Oscar does a great job of getting everyone involved on some level.[vidtoken data:4]It’s all practical, so&nbsp;as you can imagine, there was a lot of meticulous planning in the pre-production and build stage. We had a big printer on set, and we would choose a frame from the rushes to print, and this became our edit point into the next scene. There was no going back once we had made that decision. It was a really interesting way of working.Loyle Carner is a dream to work with, so that helped as well. But the studio actually had a massive power cut just as we were about to turn over. So after much waiting around we had to leave and come back the next day to start filming. That was fun…But we got there eventually, and the end result is that beautifully hypnotic video. I love in-camera trickery and practical effects. I'm looking forward to doing more of that with CANADA.[vidtoken data:5]You co-founded Ground Work. Did you start it with a specific idea in mind of what it should be or stand for? Name a production from the early days&nbsp;of the company that is special to you, and why?If I was to give one specific idea it would be a love of the craft. We all enjoy technical shoots that involve puzzle-solving. This ethos shows in <a href="https://www.youtube.com/watch?v=BLcM3fq6Quk" target="_blank">Will Dohrn’s award-winning video for Idles</a>.I could tell CANADA has the same ethos - that is one of the main reasons that attracted me to this position. Lots of love to Aaron and the rest of the Ground Work team. I’m excited to be up against them on pitches and awards.[vidtoken data:6]You got back together with Oscar Hudson to produce the Slowthai video for Feel Away. What were the challenges of that project?This is another one that involved quite a lot of puzzle-solving and in-depth planning during the pre production phase - which is one of my favourite ways to work. It was a struggle to fit prosthetics, set build and hyper realistic cakes into the budget but we had a lot of the same HODs and crew from the Loyle Carner video which helped things move smoothly.At the time it had just been my birthday and my girlfriend was pregnant with our son - so I couldn’t help but feel Oscar was trying to mess with me! We actually tried to use footage from one of our ultrasound scans for the James Blake singing section, but sadly it didn’t quite work.&nbsp;<blockquote>Directors have my full attention when developing ideas - one of the real pleasures of this job.</blockquote>What drew you to your new job as head of music at CANADA? How do you see your role - and are you still producing?&nbsp;I have always admired CANADA. They are one of the best in the game when it comes to music videos, so it is a huge pleasure to be here. It’s a privilege to join an outfit that won Best Production Company at last year's UKMVAs.I'm not producing anymore. I’m fully focused on my role as an EP, and&nbsp;I’ve adapted pretty well to the change. I want to be creatively involved in the projects I do and being an EP allows me to do that.&nbsp;Not producing the jobs means directors have my full attention when developing ideas. That is one of the real pleasures of this job, I get to work with our wonderful roster of directors and help them fully realize their ideas. I’m excited to be a part of their journey.Alongside music videos I’ll also be heading up the content department, so I will oversee all non-traditional commercials, narrative and docs – all the fun stuff basically!What are you hoping to achieve?Our philosophy when it comes to music videos is definitely quality over quantity. Each music video should make sense for CANADA and be a step-up for the director. We wouldn’t want a director to be churning out music videos for the sake of it.<blockquote>Having established ourselves in the UK, our reputation means we can aim high with local names.</blockquote>We are looking to add a few names to our roster. Having firmly established ourselves in the UK, our reputation means we can aim high with local names - as well as looking to nurture up-and-coming directors that we think have something really special. CANADA takes pride in the longevity of our relationships with directors, so I’m looking forward to continuing that with some new additions.There are always challenges when working in music videos. The ideas are always bigger than the budget allows. It is such a creative and exciting space to be working in, but hopefully one day budgets will fall in line. Watch this space for exciting videos to feature on Promonews!• Check out the showreels&nbsp;of CANADA directing roster&nbsp;<a href="https://canadacanada.com/directors/" target="_blank">here</a>.

CANADA's Callum Harrison: "Each music video should be a step-up for the director."   

JOY IN PEOPLE

Mura Masa - What If I Go? (Official Video)

EDEN - love, death, distraction (official video)

Glass Animals - Your Love (Déjà Vu) - Official Video

Loyle Carner - Ottolenghi (Official Video) Ft. Jordan Rakei

Ashnikko-'Drunk-With-My-Friends'-by-Claire-Arnold

Slowthai-'Feel-Away-Ft.-James-Blake,-Mount-Kimbie'-by-Oscar-Hudson

Claire Arnold's jawdropping animated video for Ashnikko's Drunk With My Friends - arguably the ultimate expression so far of the singer's brazen, anime-influenced&nbsp;aesthetic&nbsp;- imagines Ashnikko and her pals as dissolute pixies in a virtual saucy playground idyll.Arnold worked with 2D artist Kane Lee to develop the initial character design for Drunk With My Friends which was then brought to life by Carol Civre.

Claire Arnold

Ground Work

Aaron Z. Willson

Carol Civre

Ashnikko 'Drunk With My Friends' by Claire Arnold

Talking about his video for Jeshi's Mask On, Walid Labri&nbsp;told Complex: "The keyword in this video is elevated reality, and this whole visual is about Jeshi trying to be heard."Whether it's him shouting off a top of a cliff alone, hopelessly talking to someone on the phone, locked out and trying a last ditch effort to be heard through a peephole, or attempting to get the attention of driver who isn't trying to listen but rather drive... but his attempts at being heard are not being recognised -&nbsp;&nbsp;as if he has a mask on."

Walid Labri

Harry Wheeler

Pete Wade

Elizabeth El-kadhi

Jason Wallis

Electirc Theatre Collective

Because Music

Jeshi 'Mask On' by Walid Labri

Jeshi-'Mask-On-'-by-Walid-Labri

Oscar Hudson is back, directing&nbsp;a&nbsp;fever dream wrapped in a music video for Slowthai.&nbsp;The concept for Feel Away opens&nbsp;rather innocently... Slowthai - real name Tyron Frampton - is with his girlfriend (played by Guindilla Ontanaya) at a maternity ward, shot through her first person perspective.Reality soon takes&nbsp;a distorted plunge into more surreal territory, as the perspective switches&nbsp;and it's Frampton who now has a baby growing inside of him. Cascading into multiple nightmare scenarios, his love interest falls in love with a doctor, his limbs turn into cake and the baby lipsyncs the lyrics via&nbsp;the ultrasound screen.&nbsp;Truly weird and wonderful, the video takes a sharp turn into the uncanny valley and doesn't let up until the final, haunting frame. The use of first person perspective drops the viewer right into the middle of this world, creating an erratic and claustrophobic environment with no way out.&nbsp;

Oscar Hudson

Pulse Films

Rik Green

Tom O'Driscoll

Steven O Eniraiyetan

Ruben Woodin Dechamps

Bill Rae Smith

Taff Williamson

Daniel Pacitti

Amber Pitkin

Ellie Johnson

TenThree

Jonny Thorpe

Glassworks

Chloe Ensor

Kharmel Cochrane

Rich Savage

Asia Rose Kilgallon

Hip Hop

Slowthai ft James Blake & Mount Kimbie 'Feel Away' by Oscar Hudson

Claire Arnold channels the spirit of great '60s singers - as part of a classic girl group and then when they go solo - for new British R&amp;B&nbsp;artist Olivia Dean.Recreating the style of a mid-century monochrome TV performance, Dean performs Hardest Part as&nbsp;the lead singer in a classic Motown-style girl group. But then the style changes to a disco-era TV show aesthetic&nbsp;- in colour, prism lenses - with Olivia as the Diana Ross-like solo star.&nbsp;And we get to see that shimmering gown she's wearing in all its glory.&nbsp;&nbsp;&nbsp;

Elle Lotherington

Nathalie Pitters

Catharina Scarpellini

Lou Macnamara

Leopold Naessens

Y-lan Lucas

Luci Ellis

Issac Poleon

Celia Burton

Suga Suppiah

Caroline Morin

Wash

Connie Meade

Virgin EMI

Olivia Dean 'Hardest Part' by Claire Arnold

Olivia-Dean-'Hardest-Part'-by-Claire-Arnold

Jamie Whitby embraces thermal imaging technology and complex motion control in his&nbsp;video for Glass Animals' Your Love (Déjà Vu).&nbsp;With an unusual colour palette and experimental post-production work, the visual is a vibrant, mixed-media trip with a futuristic aesthetic.&nbsp;

Jamie Whitby

Agile Films

Hayley Williams

India Bradshaw

Tom Wymborne

Spike Morris

Raul Menendez

Studio Augmenta

James Bradley

Electric Theatre Collective

Eamonn Blake

Chloe Hayward

OB Management

Richard Grewe

Polydor

Rock

Indie

Glass Animals 'Your Love (Déjà Vu)' by Jamie Whitby

Archie Marshall aka King Krule picks up on directing duties for the first release from his latest album, drawing upon on one of cinema's greatest works as his primary&nbsp;influence - Carl Theodor Dreyer’s 1928 classic The Passion of Joan of Arc...

King Krule

Lana Salfiti

Ty Hack

Luke Moran-Morris

Verity May Lane

Andrea Gomez Anzola

Matt Kitchin

Matt Jackson

XL Recordings

King Krule '(Don't Let The Dragon) Draag On' by King Krule

King Krule - (Don't Let The Dragon) Draag On

The loneliness of life on the road is explored in&nbsp;Zhang + Knight's latest labour of love&nbsp;for Eden.Transporting a decaying plane across country on the back of a HGV, an ageing&nbsp;truck driver has more than enough time to meditate on his life and work. Location after location, the appeal of travelling has obviously faded as the driver looks for any distractions in the monotonous journey. The small things, such as new trails in the sky from a plane, or the animals running in front of the van on the road are given prime focus, the only novelty in the miles of countryside and terrain.&nbsp;Finishing off the journey at a scrap yard, the use of shots from inside the plane represent the idea that the vehicle has seen its heyday, and like every journey, this one has come to an end. Shot in&nbsp;Kazakhstan for 5 days on 35mm, the visuals are&nbsp;breathtaking and beautifully composed, giving the concept a charming yet wistful vibe.

Ireland

Zhang + Knight

FRIEND

Luke Tierney

Mary Issitova

Ruben Woodin-Dechamps

Andrey Maslov

Alexander Kostanidi

Jack Williams @ Assembly Rooms

Assembly Rooms

Daniel De Vue @ A52

Ysf Studio

Isbek Abilmazhinov

Electronic

Eden 'Love, Death, Distraction' by Zhang + Knight

Eden-'Love,-Death,-Distraction'-by-Zhang-+-Knight

Bombay Bicycle Club are back, and they bring with them a cinematic comeback tale from old friend Louis Bhose.Opening with a tongue-in-cheek preamble about British society crumbling without their presence, the video is by no means as lighthearted as that opening suggests. But its certainly celebratory, and a terrific performance video for the new song Eat Sleep Wake by Bhose - who used to play with Bombay Bicycle Club back in the day, before he took up directing.&nbsp;We follow Jack through this new society as he tries to reignite his musical dreams, attempting to play a variety of different instruments but frustrated at trying to do it all himself. We are then introduced to the other band members, all following the same ritual.&nbsp;Bhose's regular DoP collaborator Murren Turrett does a great job creating a very cinematic sense of the struggle of creation. it all leads up to the moment, when&nbsp;the band make contact with one another again - via smoke signal.So then it ends, just before the four bandmembers reunite, representing the end of one era and the start of another.&nbsp;&nbsp;

Louis Bhose

Mykola Poluden

Mariko Atamanenko

Murren Tullett

Levgen Shramchenko

Anna Aralova

Kit Wells

Final Cut

Matthieu Toullet

Bombay Bicyle Club 'Eat Sleep Wake' by Louis Bhose

Bombay-Bicyle-Club-'Eat-Sleep-Wake'-by-Louis-Bhose

F*** this photocopier. Marika rocks her corporate hellhole in this simple, effervescent video by Louis Bhose.Somehow, Marika Hackman has ‘given up her soul’ for an ill-fitting suit and a dead-end office job. And she’s starting to wonder how she got here. In a fantasy sequence, she performs inside an enormous, strobing photocopier. Which she proceeds to smash.Hackman has charisma in buckets, or ‘BDE’, to borrow her phrase. In the visual cycle for her upcoming album Any Human Friend, we’re beginning to realise quite how much comic potential the songwriter has always had. Most recently, she had a star turn in Will Hooper’s dry and relatable <a href="https://www.promonews.tv/videos/2019/05/23/marika-hackman-im-not-where-you-are-will-hooper/58874">I’m Not Where You Are</a>. It’s a treat to see rockstar Hackman, and in&nbsp;classic pop video mode; The One could easily be a long lost visual for Heaven 17 or The Human League.The concept is Hackman’s own. According to Agile Films,&nbsp;the story behind it reads a little like this:“Marika Hackman: I want to do a performance vid in a photocopier, where the imagined rockstar in me performs with gusto as the mediocre, let-down version of me watches.Hack Video Director: say no more”.

Chris Hayden

Yolande Haynes

Sam Alberg

David Hamilton

Thomas Liam Davis

Emily Engleman

Jack Williams

Jack McGinity

CHEAT

Chris Dunleavy

Amf Records

Alternative, Indie Rock

Alt Rock

Marika Hackman 'The One' by Louis Bhose

Marika Hackman - the one

Sigrid sits alone in a waiting room, in Zhang + Knight&#39;s video for Don&#39;t Feel Like Crying - an apt visual metaphor for that time when you&#39;re wondering when some heavy&nbsp;feelings are going to kick in.The directing duo also use a subtle change of bright colour to reflect shifting emotion - and idea that&#39;s well executed in Ruben Wooden-Dechamps lovely cinematography, and the grade by Jonny Thorpe.

Shea Bradley

Anthony Hugill

Mahalia John

Zoe Klinck

Gabriella Floyd

Laura Clayton

Island Records

Andrew Bainbridge

Sigrid 'Don't Feel Like Crying' by Zhang + Knight

Sigrid-'Don't-Feel-Like-Crying'-by-Zhang-+-Knight

Oscar Hudson&rsquo;s marvellous video for Loyle Carner manages to do something extremely rare these days &ndash; it references the old masters of music video direction, and then extends that vocabulary of visual wonder and make the seemingly impossible happen before your eyes.It begins in lo-fi home video mode, with Carner dozing on a crowded commuter train, before appearing alone in a luxurious express train &ndash; before the huge face of guest singer Jordan Rakei appears in the window. What we think is VFX trickery is in-camera trickery. And from that point on, we&rsquo;re in a train carriage with the Carner and Rakei and fellow passengers, that is constantly changing, even though the position of the camera never moves&hellip;It&rsquo;s certainly possible to describe this visual treat as Gondryesque. It is, but this is no imitation. Its pure Oscar Hudson. As well as bamboozling trickery, there are visual jokes that you won&#39;t get on first viewing. And the subject of the songtitle Ottolenghi is in the video too &ndash; famous chef Yotam Ottolenghi is the ticket collector&hellip;Within in all, Loyle Carner gives another terrific performance here &ndash; and then there&rsquo;s the price of his train ticket from East Croydon to London Bridge. Mindblowing stuff![imgtoken data:1]

Callum Harrison

Head of Music Video

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