Homespun

Editor

Charlie Reddie

Alex Southam directs a touching comeback promo for Robbie Williams, set in a TV studio where Robbie is being interviewed by none other than himself.&nbsp;Southam's video for Lost - and this is the Director's Cut -&nbsp;begins with the artist backstage of a talk show, ready to be interviewed by his suited-and-booted TV interrogator. Who turns out to be his&nbsp;döppelgänger.&nbsp;[imgtoken data:1]As Real Robbie is grilled by his alter-ego, it's a chance to recount some of the singer's most iconic moments on a&nbsp;TV screen on set. That adds to the air nostalgia, with a sense of him attempting to overcome regret, and trying to map out a way forward for the future.&nbsp;It's strong work by Alex Southam - and a fitting comeback showcase for the irrepressible Robbie.&nbsp;

United Kingdom

Angela Hart

Arthur Mayadoux

Alex Southam

Ryan Morgan

OB Management

Carrie Sutton

Thierry Garcia

Pieter Snyman

Sam Holmes

Jerome France

Lois Paul

Philippe Barez

Antoine Tamby

Marc Balland

Asia Abbartangelo

Davide Marconcini

Cyril Pedrazzini

Edna Dos Santos

Sveta Iershova

Anais Maurette

George Neave

Sorrell Higgins

Gus Quirk

Chris Chard

Coffee & TV

Columbia Records

Robbie Williams 'Lost' (Director's Cut) by Alex Southam

Robbie-Williams-'Lost-(director's-Cut)'-by-Alex-Southam

A disused tube station provides the appropriately atmospheric&nbsp;backdrop for David M Helman's gripping video for Holly Humberstone's London Is Lonely.&nbsp;Sat on a perpetually rotating platform, Humberstone delivers a mesmerizing&nbsp;performance in a single continuous take.&nbsp;As she reminisces about a lost lover, and the loneliness of the big city without them, she completely transfixes the viewer with the emotion and intimacy of her delivery and relationship with the camera.&nbsp;The dramatic lighting transitions and hazy post effects add a haunting, introspective mood, which just does enough to augment the stripped-back concept, ensuring the focus never wavers from the remarkable&nbsp;performance that Helman has drawn from Humberstone in this video.&nbsp;[imgtoken data:1][imgtoken data:2]

David M Helman

Ersan Beskardes

Nathan Killham

Kode

Mouthpiece

Steve Cameron

Patrick Golan

Matt Fleming

Zoe Gunn

Elle Lotherington

Alex Hudson

Anthony Mchugh

Christian J Orr

Sam Storey

Emma Regan

Jonny Thorpe

Glassworks

Tk-fx

Jan Bezouska

Singer-songwriter

Holly Humberstone 'London Is Lonely' by David M Helman

Holly Humberstone - London Is Lonely (Official Video)

Maxim Kelly directs a genre-bending epic for Mercury Prize-shortlisted rock band Black Country, New Road.&nbsp;Cleverly&nbsp;balancing&nbsp;an abstract narrative with anachronistic imagery, the focal point of the story is an alien who has crash-landed to Earth, who gets a less-than-welcoming treatment from the humans who capture him.Spanning a six-minute runtime, the video is peppered with a vast array of references, from vintage sci-fi films through to low budget B-movies and classic drama films. And the Concorde plane is in there too.&nbsp;[imgtoken data:1]Flanked with archival footage, the video is ambitious and wide-ranging, but never once feels stretched too thin, which is a remarkable achievement for a concept that covers so much ground in it's comparably short runtime.<blockquote>We took the 6 minute-plus runtime as an asset.</blockquote>“On the surface, the concept was straightforward," says Kelly. "But&nbsp;for a band who namecheck everyone from Scott Walker to Kanye West, and the pronounced mix of genres in their music, it felt right to take an analogous approach with the visuals. Throw as many references together as possible and see if we, too, could get it all to hold together as a piece."We took the 6 minute-plus runtime as an asset. It gave us the time needed to weave as much as possible into the film. A walking video in parts, but also with a narrative running through...&nbsp; combined with miniatures and VFX.&nbsp;"The band were so supportive and amazing. They gave us the encouragement to just go off on one! And being a massive fan of their music, it was a genuine pleasure to work with them on this film.”

Maxim Kelly

Caviar

Eleri Evans

Zoe Travica

Conor Joyce

Will Akbar

Nick Cooke

Pete Swinford

Mike Simpson

Kieran Brown

Laura Little

Georgia Olive

Jared Behl

Kirsty Oldfield

Butterscotch

Connor Coolbear

Jason Wallis

Electric Theatre Collective

Hannah Ashby Ward

Hands London

Rock

Alternative

Black Country, New Road 'Concorde' by Maxim Kelly

Black Country, New Road - 'Concorde' (Official Video)

Deadpool&nbsp;actor&nbsp;Ed Skrein takes on directing duties in this&nbsp;high-concept sci-fi vision for CASisDEAD, featuring La Roux -&nbsp;who also features in the Blade Runner-esque narrative.&nbsp;Exploring experimentation and futuristic worlds, the video is masterfully conceptualised, with mesmerising art direction and top-notch prosthetic work, care of&nbsp;Stuart Richards and&nbsp;Vee Holt.[imgtoken data:1]Seamless VFX stitch&nbsp;the ambitious visuals together, balancing the haunting artificiality of the world on-screen, with the recognisable mementos of the world we currently inhabit.&nbsp;The glossy aesthetic also feels gritty and alien at times, as if a parallel world is being captured with anachronistic technology, which elevates the unsettling concept and themes.&nbsp;

Ed Skrein

Joseph J Goldman

FRIEND

Luke Tierney

Hugo Holford

Chris Malin

Chris Dowling

Stuart Richards

Claire Yurika Davis

Vee Holt

Luke Morrison

Dom Binegger  Digital Ridge

Millie Rose

XL Recordings

Hip Hop

Dance

Electronica

CASisDEAD ft La Roux 'Park Assist' by Ed Skrein

Casisdead-Ft.-La-Roux-'Park-Assit'-by-Ed-Skrein

Maxim Kelly takes South London band Tiña down the pub for a heart-to-heart and some magic realism for their single Closest Shave.&nbsp;Taken from the band's acclaimed debut album Positive Mental Health Music, Kelly matches the breezy blend of surrealism and humour in the track&nbsp;with his inventive take on a one-shot video. It's a dreamlike journey into a cinematic London, a combination of the familiar and the off-kilter, that begins in a rain-lashed car park, past the band sheltering in a doorway, and then heading into the cozy indoors of the pub.With the song describing a chat between&nbsp;lead singer&nbsp;Joshua Loftin and his dad, and lyrics describing the world as “nervous like a big dinner plate”, Kelly makes the flamboyant frontman the&nbsp;focus of proceedings, popping up in different sequences, including talking to his actual dad Rufus in the video, surreally veering into an underground walkway, before completing a pub performance with the band, to an audience of men, slow-dancing with each other.Kelly&nbsp;used various methods to create this 'one-shot' - without calling upon motion control. His invention and resourcefulness has paid off with a result that's charming and cool. A&nbsp;joy to watch, in fact.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;[imgtoken data:1]

Lauren Mills

Sorcha Shepherd

Sophie Compton

Benjamin Wearing

Justin Theodore

Bernin Isaac

Joshua Dadson

Salvador Lopez Gomez

Lottie Highfield

Daisy Smith

Three Wise Monkeys

Carl Grinter

Brian King

Speedy Wunderground

Joe Mulvihill

Indie

Tiña 'Closest Shave' by Maxim Kelly

Tiña - Closest Shave

The Chemical Brothers' first single in two years comes with their first aollaboartion with RUFFMERCY - and not before time. It's utterly trademark RM stuff, and that works brilliantly with one of the&nbsp;Chems' most upbeat creations.“The Darkness That You Fear is a hopeful piece of music," says Tom Rowlands of the Chemical Brothers.&nbsp;"When we found the combination of the different voices worked set to the flow of the music it made us feel optimistic, like it was something we wanted to share.”RUFFMERCY has responded by transfoming archive footage of British rave and festival culture when The Chemical Brothers first emerged in the early Nineties. His distinctive&nbsp;abstract painterly animation style is applied to the vintage footage to create an astonishing tour de force of visual creativity.&nbsp;There's only one RUFFMERCY. And he's brilliant!

RUFFMERCY

Richard Grewe

My Accomplice

Jamie Clark

Patch Keyes

Alexa Haywood at Free Agent UK

Ailsa Robertson

The Chemical Brothers 'The Darkness That You Fear' by RUFFMERCY

The-Chemical-Brothers-'The-Darkness-That-You-Fear'-by-Ruffmercy

It's not ideal trying to launch your directing career during a pandemic, but that is what Maxim Kelly has managed with notable success in the past few months. And teaming up with editor Charlie Reddie on the videos for Django Django and Shame has proved to be a crucial move in that respect.The usual obstacle to creativity on any&nbsp;indie rock video is the budget, but Covid has added a whole new layer of difficulty to proceedings. Kelly has responded to the challenge with two videos that would be thoroughly enjoyed on their own merits in any other year&nbsp;- with sterling help from Reddie.&nbsp;&nbsp;In <a href="https://www.promonews.tv/videos/2020/09/16/django-django-spirals-maxim-kelly/66678" target="_blank">Spirals for Django Django</a>, the pair rigorously explored&nbsp;the potential of a pre-cinematic, 19th century visual device called the phenakistoscope; in Nigel Hitter for Shame, Kelly transformed&nbsp;the South London band into convincingly serious white-coated medical researchers from the 1950s. Both could be described as 'lockdown videos', but both have transcended the circumstances in which they were made."Both these films are 100% products of the pandemic," says Kelly. "But yeah, that’s the challenge. How to continue making work and not have people realise that they are a product of lockdown.&nbsp;Because that would date the video and you want the work to be timeless."[imgtoken data:1]Above: Maxim Kelly: "I&nbsp;always start with a blank slate on every pitch."We spoke to Maxim and Charlie about the videos, while the UK is in the grip of its third lockdown and nearly a year into the coronavirus crisis. And first of all, we asked Maxim Kelly whether these were ideas that had been floating around before lockdown...&nbsp;Neither of these videos feels like products of lockdown, however both achieve a lot with what seems like minimal shooting and a dose of manipulation in post. Had the ideas been floating around for a while?MK: I’m frequently asked if there are any ideas/concepts I’m desperate to make. But I always start with a blank&nbsp;slate on every pitch. For me, the music is the essential part of producing a music video. I can’t begin generating ideas or find inspiration without the song or the stress of a deadline.[vidtoken data:0]What influenced the visual aesthetic running through Spirals?MK: It was the psychedelic experience that influenced the <a href="https://www.promonews.tv/videos/2020/09/16/django-django-spirals-maxim-kelly/66678" target="_blank">Django Django video</a>. What’s interesting to me about psychedelics&nbsp;is that they can show you the world through the eyes and wonder of a child again. And the phenakistoscope was a Victorian children’s toy. It’s also confusing to the mind and eye; so naturally or inherently the phenakistoscope is a total trip.And of course in order for the animation to function, each frame needs to be arranged into a spiral or circle and then spun. So it’s an obvious idea when you think about it. But it takes a lot of work to get to where you’re asking yourself, 'why didn’t I think of that sooner?'<blockquote>I’ve never had to do maths to make an edit work, but just getting to the point where you could start editing was a challenge.</blockquote>The visuals are so hypnotically soothing and easy to take in, but I’m sure they weren’t so easy to pull off - how much of this was achieved in the edit?MK: Depends on how you’re defining the term 'edit.'&nbsp;Because it was the most unorthodox edit ever. My lasting memory of that film will be staring across at Charlie, whilst he sits editing the film on a calculator.CR: This was definitely the weirdest and most challenging edit I’ve ever done. I’ve never really had to do maths to make an edit work but just getting this to the point where you could start editing was a challenge in itself. Nearly every shot had to be split into 12, 10 or 8 frame circular animations before we could even start working on the edit.[imgtoken data:2]Once we’d figured out this hurdle we ran into the next one which was the spinning of the circles. Because of the type of animation, different speeds animate the frames and completely change the look of it. It took a lot of experimenting before we landed on the right hypnotic feel. Whilst there were hurdles to overcome it was a really exciting challenge to be involved in.MK: I got extremely lucky getting Charlie onboard. It was the first time we had worked together and I think he’s the only editor in London who could’ve pulled this job off. Charlie can recite Pi (π)&nbsp;from memory to 137 decimal places and he had enough experience in After Effects and Nuke to get us over the line and save my backside.<blockquote>Charlie can recite&nbsp;π&nbsp;from memory to 137 decimal places - and has experience in After Effects and Nuke.</blockquote>Any other technical puzzles trying to bring the idea to life?MK: The entire thing was a massive puzzle. Avid doesn’t work with spinning circle timelines. So from the get-go there were so many questions. And even after having made the film, I still couldn’t answer most of them. But, I’m only excited by ideas where there’s an element of risk because if you’re not putting yourself on the line then you're just making a music video.In retrospect it is painful to get sign-off on a film when your final cut consists of a mock-up and an Excel Spreadsheet. Fortunately we had an amazing commissioner, John Hassay who understood the process and could see the potential of the final piece.Is there anything about this 'mathematical'&nbsp;way of editing that you think you could apply to future projects?CR: Definitely not.&nbsp;I don't really want to have to get the calculator out for any future edits. It was a challenge that was good to overcome and I learnt a lot along the way. I think by the end, both Maxim and I wanted to do something very different on the next job which was why <a href="https://www.promonews.tv/videos/2021/01/13/shame-nigel-hitter-maxim-kelly/68968" target="_blank">Shame's Nigel Hitter</a>&nbsp;was so refreshing afterwards.[vidtoken data:1]<blockquote>I realised I had to have babies singing.&nbsp;I just needed to find a means of making that happen.</blockquote>How did you come up with the idea for recreating the mid-20th century child psychology clinic for the Shame video?MK: The idea came from the lyrics of the song. If you take each line and then imagine it coming from the mouth of a baby, they suddenly take on a second meaning. So once I realised I had to have babies singing, I just needed to find a means of making that happen with the budget and during a pandemic. I started searching for archive footage and it all fell in to place from there. The band called the song Nigel Hitter because they thought it was a ridiculous name. So I resolved to give him an identity and invented the character of Nigel Hitter M.D., and then got the band to play his faculty.Did you have fun sourcing this bizarre footage? Where did it come from?MK: It was more worrying than fun. I was in the Travelodge, Stratford at the time. I had just returned from working on another film in Barcelona and I had to quarantine. I was petrified that any minute the hotel staff were going to knock on my door and say 'Excuse me sir, have you just downloaded another video of a naked baby having its rectum stimulated with a safety pin?'&nbsp;I’m pretty confident that if the police are doing their job right, that I am now on some sort of register or watchlist. Unless I was already on the list...[imgtoken data:3]Was it a challenge bringing all of this together in the edit to create an authentic document of a fictional experiment?MK: At first you do not know where to start, and that’s what’s wonderful about working with Charlie. He has a knack for uncovering connections and organising footage in a way that makes sense. And then it’s easier to get things clear in your own head once everything is arranged intelligently.CR: Early on in the edit Maxim and I talked about where we wanted the video to land. Some of the stock footage was difficult to watch, so we had to be really considered about how we repurposed it. Maxim wanted it to feel authentic but not too serious. Once we knew we could ‘deep fake’ a monkey to get it ‘singing’ the track, we knew we were heading in the right direction.<blockquote>We had to be really considered about how we repurposed the stock footage.</blockquote>MK: Our primary worry was that all the footage came from different decades. But once you put the band into it, and grade it all to match you kind of overlook it, or at least you forgive it. But it’s just a process, you put something together, sleep on it and look at it again in the morning.And there’s always an 'a-ha'&nbsp;moment, and for Shame it was the monkey. We were searching for suitable shots to use for the baby lip-sync and Charlie dragged out the monkey and asked 'baby lip-sync?'&nbsp;as a joke. But that clip unlocked everything for us. Once we had that, we had the obvious progression taking us into the last half of the video.I'm sure finding a rhythm is especially important when cutting music videos, is that a more difficult process when working with stock footage?CR: Rhythm is definitely important and I guess the tricky thing with stock footage is often you're locked into the length of the shots of the original footage. It was a balancing act when we put the edit together to make sure we were using stock shots that allowed for the rhythm that we wanted,&nbsp;whilst also telling the story the way we wanted it to be told.[imgtoken data:4]<blockquote>I wanted to create something uncanny like an early David Cronenberg movie.</blockquote>There seems to be a range of post-production approaches taken here. Have you noticed a rise in these kinds of techniques in the past year, with limits placed on production?MK: For me and everybody else at the moment, it’s just about wanting to keep working. So everyone is trying to identify innovative ways to still produce entertaining work. So you just play the cards you’re dealt and try to find alternative ways to produce a film. I think it’s a positive thing. It’s forced people to not tread the same well-worn paths. And as a result there’s been some fascinating work made. The one that springs to mind is Keith Schofield’s Mesmerize. It’s a stroke of genius that might never have been done in that format without the pandemic.What techniques and applications were you using to merge the band in with the old footage? There's lots of talk of 'deepfake' these days. What does that actually entail?MK: There’s Deepfake in there, but that was simply to make the babies lip-sync the song. Face Swapping Deepfake is a different procedure. There’s less technical skill required with Deepfake. You leave that part to the algorithms and A.I, but it’s hardware-intensive and therefore can be pricey. We went the traditional route for the band. We just filmed them in a green-screen studio and then cut them out and dropped them in. It’s harder than it sounds though, but Franklin Dow did such an incredible job matching all the different lighting set-ups it made it simple. Although Rob Chandler, who did the compositing might tell you differently...[imgtoken data:5]Above: Charlie Reddie: "Maxim always wants to push boundaries with his music videos, both creatively and using new techniques."CR: The Deepfake process​ ​could be a little frustrating at times as you were never really sure which shots would work and which wouldn’t. We spent a lot of time recutting sequences until we found shots that worked best when we ran them through the Deepfake software. The results are great though and really help make sure the video didn’t take itself too seriously.Medical professionals play a key role in the video. Was this a conscious reaction to the past year?MK: It wasn’t a conscious decision. But everything in your environment influences you. When I looked for archive footage, medical footage wasn’t the only material I found, but I was drawn to it. So it could be.&nbsp;I suppose it’s like when a woman finds out she’s pregnant and then she spots other pregnant women everywhere. Somewhere in my subconscious it led me down that path. I guess I wanted to create something uncanny like an early David Cronenberg movie. I suppose that could be seen as a sign of the times.[imgtoken data:6]<blockquote>The situation has&nbsp;forced people to not tread the same well-worn paths, leading to some fascinating work.</blockquote>Charlie, the past year has changed the way a lot of us work, are there any ways you adapted as an editor that you'll take with you into a post-pandemic world?CR: It's been a weird year, and remote editing has become the norm. Obviously nothing beats being in the room with a director working on the edit&nbsp;together and that's been the biggest change. We've got a good setup for streaming the output of the Avid remotely so we can still work together. It's not the same as being in the same room but it works pretty well and may still have a place when we're out the other side of this. In the future, if there are only small tweaks that need to be made quickly, I can see a Zoom and Avid setup being really useful for quick feedback.How has it been working with Maxim on these projects?CR: I really enjoy the way Maxim always wants to push boundaries with his music videos, both creatively and using new techniques. There have been moments when they're challenging but those challenges make them exciting and interesting to work on and I'm really proud of the final pieces. I'm looking forward to working on the next mad idea Maxim has!Finally, and this is obviously entirely hypothetical, but if we weren't in a pandemic situation, would you have made different videos for these tracks?MK: When I get a brief in, I’m already conscious of all the limitations like the budget and pandemic. So I try to come up with something that’s realistic and achievable within all those restrictions. So without the pandemic they would be different films. No idea how, though. It would be hard to say.[imgtoken data:7]<blockquote>Without the pandemic they would be different films - no idea how.</blockquote>I think it’s more straightforward with my next video. I pitched one dancer in a studio, but that turned out to be impossible. So then I shifted it once they commissioned it. It’s a similar concept but now done in 3D. And it’s very different to how it should’ve been. Once it became a CGI film, I thought, what’s the one thing you can’t shoot during lockdown? Vast crowd scenes. So that’s what we ended up doing. It’s an anti-lockdown, lockdown film. But it’s still good. Who knows, maybe even better?• Maxim Kelly is represented by <a href="https://caviar.tv/" target="_blank">Caviar</a>, and Charlie Reddie is an editor at <a href="https://stitchediting.tv/" target="_blank">Stitch</a> and its music division,&nbsp;<a href="https://homespun.tv/" target="_blank">Homespun</a>.&nbsp;Special thanks to Georgie MacErchern at Caviar and&nbsp;Martin Macnamara at Stitch/Homespun.

Behind the Django Django's Spirals and Shame's Nigel Hitter videos with Maxim Kelly and Charlie Reddie: "They're products of the pandemic"

Django Django - Spirals (Official Video)

shame - Nigel Hitter (Official Video)

Maxim Kelly teams up with South London alt-rockers Shame to create a masterful reimagining of archive footage for new single Nigel Hitter.Applying deepfake technology onto film from mid-20th century child developmental research, Kelly drops the band -&nbsp;frontman Charlie Steen,&nbsp;in particular&nbsp;- into the world of vintage equipment, whitecoated medics&nbsp;and&nbsp;lots of babies, undergoing all manner of tests and examinations. It's all part of the project led by that man who introduces the film and has his name on the front of the hospital... Nigel Hitter, MD.The effect of this clever refashioning of the past is both funny and creepy - which becomes more pronounced when the babies 'learn' to sing the lyrics of the song, and the human babies' number is increased by a painfully thin baby rhesus monkey. Now we are sliding into David Cronenberg territory of&nbsp;curious institutions, strange experiments and unfeasibly gifted toddlers.You could also argue that the video is also a kind of reflection on the past year - a relentless testing of human behaviour, where the medical profession play a prominent role. It echoes the manner in which the song, which features on the band's new album Drunk Tank Pink (out on Friday, 15th January). As Steen explains, it started life as&nbsp;the band adjusted to being locked down at home, having spent much of their adult life on tour.&nbsp;“Nigel Hitter is one of the vital organs of Drunk Tank Pink," he says. "A necessary pulse. Focused on daily routine, repetition, and how extraordinary any ordinary task seemed to me after coming home from touring. A world of percussion and joy lies within.”&nbsp;&nbsp;&nbsp;&nbsp;And Maxim Kelly was clearly inspired by the lyrics in coming up with the concept behind the video. The way he has executed that idea into the finished work - with the help of his team, including DoP Franklin Dow, editor Charlie Reddie and VFX artist RoBert Chandler - is nothing short of a marvel.

Stephanie Paeplow

Daniella Manca

Franklin Dow

Juan Minotta

Ben Keswick

Noah Furrer

Ciprian Stroiny

Oliver Whitworth

Robert Chandler

Butterscotch Post

Fatima Ouklilane

Robby Morris

Dead Oceans

Shame 'Nigel Hitter' by Maxim Kelly

Having just completed a five-part series for Beabadoobee, directing duo Bedroom&nbsp;follow up with a new visual album project for&nbsp;Norway-based Boy Pablo - and it's brilliant. The three videos continue&nbsp;the story of the singer-songwriter's Wachito Rico series to its conclusion - after the first two chapters, for <a href="https://www.promonews.tv/videos/2020/06/25/boy-pablo-hey-girl-eivind-landsvik/65396" target="_blank">Hey Girl</a> and <a href="https://www.promonews.tv/videos/2020/07/22/boy-pablo-honey-eivind-landsvik/65766" target="_blank">Honey</a> - following Pablo's alter-ego Wachito on a series of adventures in characteristically charming and visually inventive ways by&nbsp;Soren Harrison and Amir Hossain,&nbsp;aka&nbsp;Bedroom.[vidtoken data:0]In Rest Up, we catch up on Pablo/Wachito's&nbsp;infatuation with the love of his life, Sofia. He goes on a surreal road trip, camping in the woods&nbsp;on the long journey, finding clever ways of getting in touch with her, but then things start to go horribly wrong.&nbsp;&nbsp;Depicted in true Bedroom fashion, the&nbsp;duo use&nbsp;greenscreen and animation to add a whimsical and quirky touch&nbsp;to the already zany world of Boy Pablo, while&nbsp;DoP&nbsp;Nico Poulsson maintains the look and spirit of the previous videos in the series, through great composition and restrained camera movement. And most importantly, thanks to the marvellous old -school narration by Rick Kirkham - from Tiger King -&nbsp;we definitely need to find out what happens next.[vidtoken data:1]&nbsp;In Chapter 4, Leave Me Alone!, we catch up with Pablo/Wachito Rico on the way to a party to take his mind off Sofia - and the fact&nbsp;he may not see her again. And things seem to be going pretty well - until Wichito has an an encounter with his older cousin&nbsp;Estaban. Once again, Bedroom elevate the humour and charm of the narrative&nbsp;using their signature techniques, including illustration, narration and colourful lighting. This time they are used&nbsp;to emphasise emotive shifts, almost in the manner of a musical. And in the hugely enjoyable sequence, when Wichito and Estaban meet - and fight - the voiceover king Rick Kirkham returns to provide a backstory on their past, and our hero's difficulty with&nbsp;Sofia...[vidtoken data:2]And then, finally in the eponymous Wachito Rico,&nbsp;Pablo/Wachito finds&nbsp;finds himself in a field - and he's having a conversation in his head with the God-like presence of Rick... Furthermore, his&nbsp;band are armed with their instruments and they decide to go all out and do their thing in the middle of the field.Once again, Harrison and Hossain employ their infectious signature style of handheld movement mixed with blossoming colours to convey an atmosphere of genuine fun which suits another of Pablo's impressively&nbsp;catchy tunes. And you will just have to find out if there is a resolution to the whole Sofia thing,One thing is certain. Boy Pablo and Bedroom rock. And so does Rick Kirkham...

Norway

Bedroom

Kiran Mandla

Miriam Pedersen Eeg

Anners David

Nico Poulsson

Megan Lee

The Mill

COMPULSORY

Indie Rock

Indie pop

Boy Pablo 'Rest Up', 'Leave Me Alone!', 'Wachito Rico' by Bedroom 

boy pablo - rest up (Wachito Rico: Chapter 3)

boy pablo - leave me alone! (Wachito Rico: Chapter 4)

boy pablo - wachito rico (Chapter 5)

Director duo Bedroom direct a high-stakes anime thriller for Raissa.&nbsp;Combining cinematic live action - shot by DoP Jaime Ackroyd - and 2D animation for the action sequences, the concept pays homage to thrillers such as Reservoir Dogs, as a pair of mysterious criminals&nbsp;attempt to lead the artist to her demise.&nbsp;Effectively executed with limited locations and setups, the video is a quickfire snapshot of a narrative, with a brilliantly enigmatic aesthetic. And&nbsp;Anthony Schepperd's dazzling animation ramps up the third-act energy, setting up a perfect&nbsp;denouement.&nbsp;&nbsp;

Jaime Ackroyd

Thomas Mangham

Anthony Schepperd

Cinelab Film and Digital

Raissa 'Go Fast Baby' by Bedroom

Raissa-'Go-Fast-Baby'-by-Bedroom

Maxim Kelly employs 19th century tech to create a mesmerising, appropriately-shaped video for Django Django's Spirals, the band's first new material since 2018.By recreating the Phénakisticope, a pre-cinematic invention to create 'motion pictures', Kelly has created&nbsp;a series of mandala-like circular patterns, encompassing images of Django lead singer David Maclean, that animate as they spin around. As they do so, they also replicate the spiralling effect that's referenced in the lyrics and also the music.This smart visual idea takes the viewer on a psychedelic experience that also sits perfectly with the band's canon&nbsp;of inventive visuals for their music.The single will be available to stream and download on all the usual digital platforms and also as a 10” vinyl b/w exclusive track The Ark, available from www.djangodjango.co.uk and all independent record shops.

Daphne Do

Jordan Buck

Jess Morgan

Kerry Green

Emma Friend

Michael McDuffie Finlay

Bobby Brown

Jono Yates

Nomad

Martin Goodwin

Felipe Szulc

Liv Lawton

John Hassay

Because Music

Django Django 'Spirals' by Maxim Kelly

Bedroom continue their series of Beabadoobee videos, here extending their colourful world into something more dark and atmospheric&nbsp;for frontwoman Bea Kristie.&nbsp; Beginning with the empty lockdown streets of London, sliding into a gloomy empty tunnel and then entering an outside world of greenery, Bedroom takes us through Bea’s emotions of frustration and regret at&nbsp;the collapse of a close relationship, and&nbsp;showing there can be more than light at the end of the tunnel. Bedroom delves even deeper into Nineties nostalgia aesthetic with overlapping edits and tracking shots that take us through the personal journey and create an atmosphere of loss yet hope. This is the second in a series of videos shot in lockdown, following <a href="https://www.promonews.tv/videos/2020/07/17/beabadoobee-care-bedroom/65708" target="_blank">Care</a> - and there is a few more to come. This is a collaboration that will not be easing&nbsp;up anytime soon.&nbsp; &nbsp;

Jon Moore

Dirty Hit

Beabadoobee 'Sorry' by Bedroom

beabadoobee - Sorry

Directing duo Bedroom throw&nbsp;a post-breakup party in the video for Biig Piig's second release of 2020, Don't Turn Around.&nbsp;Shot in a lush mansion somewhere out in the sticks, we find Biig Piig - aka Jess Smyth -&nbsp;roaming around and being sad and gloomy, as she reflects on being in a toxic relationship and decides it’s time for some self-love and glowing up.Throwing caution to the wind, Jess causes mayhem across pink-hued vignettes, as she participates in opulent pillow fights, and&nbsp;commandeers&nbsp;a golf cart. And that's just the start of it.&nbsp;DoP&nbsp;Alexandre Jamin uses sweeping camera movements and off-kilter closeups to tie in with the themes of freedom and self-love, with the cinematography matching the unabashed emotion of the concept.&nbsp;At the end of the day, as difficult as circumstances can be, heartbreak makes a great excuse to go out and party with your friends. If you have a mansion to do it in, even better...&nbsp;

Alexandre Jamin

Kat Cattaneo

Sony Music

Alternative Pop

Biig Piig 'Don't Turn Around' by Bedroom

Biig Piig - Don't Turn Around (Official Video)

A young woman gets lost in a wistful soundscape&nbsp;in Aidan Zamiri's video for Everyone You Know.&nbsp;Exploring the idea of vulnerability, the lead actor/ dancer - played by&nbsp;Caterina Danzico - is plugged in to the music on her headphones, performing spontaneous choreography as the rest of the world goes on as normal.Mirroring the themes of the track, Danzico is able to see&nbsp;the various characters at their most vulnerable -&nbsp;arguing with their significant others,&nbsp;trying to impress their mates. At the same time, she is at also showing off a deeply intimate side of herself through her dance and movement.&nbsp;&nbsp;

Everyone You Know 'Seen It All' by Aidan Zamiri

Charlie Reddie

Editor

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