Production Manager

Tara Bartlett

Recent <a href="https://lowkeyfilms.co.uk/" target="_blank">LowKey Films</a> signing Claryn Chong and English Teacher introduce&nbsp;us to the weird energy of Slab Man and the slightly disappointing sights of Colne, Lancashire - including the world's biggest paving slab...&nbsp;&nbsp;The whimsical concept of the video for The World’s Biggest Paving Slab, following the eccentric main character in his haunting headpiece on his apathetic guided tour, has an enimatic, slightly nightmarish quality. But it builds to a stunning performance section by this exciting new pop-punk outfit.Suddenly, the band are backdropped by stunning&nbsp;green landscapes in an almost dreamlike climax. After the drabness that has preceded it, we're in a pocket of absolute beauty. Maybe that's what Slab Man was trying to show us all along...

United Kingdom

Alex Carswell

Robbie Canale

Claryn Chong

Milo Beyts

Lowkey Films

Sarah Tucker

Lawrence Hughes

Sarah Palmer

Danny Usman

Alex De Palma

Dana Keren

Mayuko Nakae

Azusa Matsumori

Connor Coolbear

Electric Theatre Collective

Sonny Mitchell

Island Records

Indie

English Teacher 'The World's Biggest Paving Slab' by Claryn Chong

English-Teacher-'The-World's-Biggest-Paving-Slab-'-by-Claryn-Chong

James Arden - aka The Trash Factory - directs a video for songwriter and mulit-instrumentalist Deyaz about overcoming the darkness and finding the light.In the promo for Bones, Deyaz is struggling through a wood at night among zombie-like figures, but manages to free himself from the ropes that hold him back.It's a simple, strong idea that is given convincing weight by its execution, including the otherworldly forest setting, cinematography by Jack Reynolds and grade by&nbsp;Dominic Phipps -&nbsp;and TTF's direction of Deyaz, evidently an intriguing new artist.

Joshanne Dar

Sarah Adewunmi

Ellora Soret

James Loach

The Trash Factory

Ella Woolgar

OB Management

Mike O'Keefe

Tom Northam

Jack Reynolds

Sofia Wilkinson-Steel

Elle Lotherington

Grant Sandy Phillips

James Brown

Liam Morgan

Rich Woolway

Homespun

Dominic Phipps

Company 3

This & That Media

Black Butter Recordings

Deyaz 'Bones' by The Trash Factory

Deyaz-'Bones'-by-Trash-Factory

<h3>In the latest of our series asking British music video-makers about their experiences last year and thoughts on this year, we grabbed some time with Tara Bartlett, Head of Music at&nbsp;Lowkey Films.&nbsp;</h3>Tara joined Lowkey last autumn, returning to music video production following a stint in 360 digital creative services, and she has interesting things to say on a subject that a lot of people are thinking about: making creative content in the shifting landscape of online platforms. She also has ideas about where we can find "the new MTV"...&nbsp;&nbsp; &nbsp;<blockquote>I definitely think we can use social platforms to our advantage as creatives.</blockquote>2022How would you describe last year in a few words?Full of surprises.&nbsp;What was your favourite project or projects you worked on last year?I only got to join the Lowkey team at the end of last year - but I remember Inhaler’s video for&nbsp;Love Will Get You There, by our brilliant director James Arden, was being delivered that first week that I joined. The video throws it back to Top Of The Pops performances and 80’s talk shows - shooting on 40 year old broadcast cameras with an audience full of real fans. A shoot I know was a lot of fun and I’m sure would have been a personal favourite too.I would have loved to have been there for Vasilisa Forbes trio of videos for Pale Waves too! Living out everyone’s American Beauty bed of roses dreams. Also just a great example of building relationships with artists, and focussing more on the wider campaign rather than just one piece of content. I think more collaboration in that sense is so important, and really helps to join the creative together a little more, to make campaigns feel connected visually.[vidtoken data:0]Above: Inhaler's Love Will Get You There, directed by The Trash Factory (aka James Arden)What were the best aspects of the job last year?I always have the same answer, but it's the people, every time.&nbsp; What were the most challenging aspects of the job last year?&nbsp;More ever-growing platforms and audiences to navigate and entertain than ever! For lots of projects, as well as great ideas, companies and creatives also now need to have social expertise, and understand audience behaviour across these platforms, for ideas to get the engagement they need (and deserve!).&nbsp;Definitely a challenge, but it can also be fun working out how to win the attention of multiple audiences. Best or favourite video or videos last year that you weren’t involved with?I love watching how Gorillaz continue to build that iconic visual world. It’s genius and timeless. I think the <a href="https://www.youtube.com/watch?v=S03T47hapAc" target="_blank">Cracker Island video</a> just proves that they’re always one step ahead, musically and creatively. The avatars make more sense than ever now within the creative landscape and this video so seamlessly shows that off.&nbsp;And I came across Zac Dov&nbsp;Weisel’s video for <a href="https://www.promonews.tv/videos/2022/06/13/rodney-chrome-money-zac-dov-wiesel/76793" target="_blank">Rodney Chrome's To The Money</a>&nbsp;in a real Instagram hole one evening, and thought it was one of the most fun videos I’d seen in ages. 100% the kind of set I’d love to be on. You can feel the energy is there behind the camera as well as in front of it. This video made me smile a lot - and miss New York.[vidtoken data:1]Above:&nbsp;Pales Waves's Clean, directed by Vasilisa Forbes&nbsp; What were the trends (creative or otherwise) that you thought were most striking last year?A friend of mine, multidisciplinary creative Jack Bridgland, did an amazing shoot with Robert Patterson for GQ, which I think was a big creative moment last year. It was for an article called the Metamorphosis of Robert Patterson, talking about how he defies expectations as an actor, and the shoot that runs alongside this interview proves that. It’s bold, and it got people’s attention - this was a version of him no one had seen before, or knew they needed to see. I think that foreseeing what audiences won’t expect, is an amazing creative skill.What were&nbsp;other cultural highlight (or highlights) of the year?Creative direction and 360 visual world-building, even extending into physical activations, or products - like Lewis Capadi’s ‘The Big Sexy Cheesy’ pizza. You can have so much fun with it.&nbsp; Any other personal experience that defines 2022 for you?Joining Lowkey. I genuinely couldn’t be happier to be working alongside such wonderful and talented people, with such an honest and value-led way of working. Definitely defines the year for me - and the years ahead - I’m so excited for 2023. It’s going to be a big and bright one!<blockquote>There’s lots of work going into developing the music department at Lowkey. 2023</blockquote>What are you looking forward to this year – both for work and for other parts of your life?Good energy! In every aspect, spending time and sharing creativity with great people, both in and outside of work.&nbsp; Have you set work objectives for this year and if so, what are they?Lots! Big and small, I think it’s so important to set goals - and allow yourself to dream a bit. There’s been lots of work going into the development of the music department at Lowkey - with new directors, new offerings, knowledge and expertise to allow us to navigate the ever-evolving future of music and creativity. Making important and quality creative work (done with value at the heart) is at the forefront of them all. But more news on that soon.. Who are the up-and-coming talents that you think will break through this year – or at least deserve to be successful?I have met, and had so many great conversations with with amazing new talent in the last few months. From up-and-coming directors, to creatives that have previously been choreographers, photographers, creative directors, etc - who all have such a fresh and exciting approach to directing, and who I know are going to make big moves this year.&nbsp;To throw out one name - <a href="https://lowkeyfilms.co.uk/director/lusha-alic" target="_blank">Lusha Alic</a>, who was our newest signing last year - has the most incredible creative brain, in dreaming up high-concept ideas that surpass where anyone would expect an artist or brand could go.&nbsp;She’s also an amazing photographer, and a visual effects experimenter, so can build out amazing visual worlds - across multiple media.&nbsp;<a href="https://www.instagram.com/claryn.chong/?hl=en" target="_blank">Claryn Chong</a> is also another creative force (and amazing human). I’ve had the pleasure of being with her on set a couple times already this year, and I know she’s going to do big things, and I couldn’t be more excited for her.Some others we’re excited about at Lowkey, aside from the existing roster (who are also cooking up new approaches to music videos and content this year), will definitely be shouted about very soon.&nbsp;[vidtoken data:2]Above: Die Antwoord, by Lusha Alic<blockquote>I think positioning music videos as more of an event is a really smart way to hold engagement.</blockquote>What is your prediction for the direction of the industry in 2023? And what will be the big trends for the year ahead?I think it’s like I said before, with the standout creative moments of the last year - expect the unexpected. More than ever, audiences are craving a constant stream of newness, and we need to be served creative content that feels like nothing we’ve ever seen before, to actually stop and engage.&nbsp;2022 felt like it was very single release-driven, with a lot of artists holding back or working on albums for this year. I think visual albums could be a big one this year. Artists like Sampha, Beyonce, Solange, etc, have done these so well in the past, and I think positioning music videos as more of an event is a really smart way to get attention and hold engagement. I feel like these are also such win-win creative opportunities for both directors and artists. We get to be incredibly creative, whilst artists also get to take their audiences on the journey in which their music was intended.&nbsp;I’ve seen a few artists starting to use the storyline feature more on Spotify - to give more context to their music - and I think there’s a lot of appetite for it from fans. Maybe the canvas’ could become full-length music videos, and the streaming platforms could be the new MTV's...&nbsp;Any other comments about the current environment for music video production and music video creativity? What are the issues that we should be most concerned with?I think we are a lot at the mercy of the audience demographics, and the unpredictable change in the purpose of online platforms. Music videos haven’t become any less enjoyable - if anything, they are more so - but it feels like they may be currently battling for their place on platforms like Youtube, which is becoming more like a platform where most of its audiences engage in longer-form content, or content which feels more like an ‘event’, or tells a story.&nbsp;They definitely still have a place on these platforms, and don’t think we need to (or should!) start shooting music videos for only vertical. But we need to think about who and where three minute videos are most likely to be consumed - currently IG reels, TikTok, etc - and how we really optimise them for these channels so they get the recognition they deserve. And how can we create genuinely engaging promotional assets (not just cut-downs), so that audiences on these platforms are drawn to go and watch, and appreciate these music videos as they've always been intended.<blockquote>We need to think about who and where three minute videos are most likely to be consumed.</blockquote>Where are the opportunities in the current environment?I definitely think we can use social platforms to our advantage as creatives - looking at content packages as an opportunity to extend the narrative of music video ideas, beyond those few minutes, and allowing the creative work to live on.&nbsp;Have you made any personal New Year resolutions? And if so, how’s it going?Had to revisit my notes app for this, which shows how well they’re going. But apart from the obvious and the annual,&nbsp;I want to go to more gigs again this year. I definitely did less of that in 2022. And spend more time listening to my favourite, or new albums, outside of working/commuting, etc!• Tara Bartlett is Head of Music at <a href="https://lowkeyfilms.co.uk/" target="_blank">Lowkey Films</a>

State of Play: Tara Bartlett, Lowkey Films

Inhaler-'Love-Will-Get-You-There'-by-Trash-Factory

Pale-Waves-'Clean'-by-Vasilisa-Forbes

DIE ANTWOORD Cape Town '19 by Lusha Alic

<h2>Tara Bartlett is the new Head of Music at Lowkey Films. We talk to her about her plans, and find out how her experience making different types of creative work for artists will impact on her role.</h2>&nbsp;She began in music video production, involved in some groundbreaking work at Partizan. Then she went into a different, all-encompassing type of production of creative at WMA&nbsp;- working on '360' content&nbsp;for a number of leading music artists.Now she has joined&nbsp;Lowkey Films, one of London's most forward-thinking music video production companies, as Head of Music.&nbsp;And its fair to say that her previous job - Global Director of Film and Photography at WMA - means that Tara Bartlett is bringing a distinctive perspective to her new one.&nbsp;In that job, Bartlett was involved in both video and stills shoots for artists including&nbsp;Louis Tomlinson, Olivia Rodrigo, Easy Life and more. She was also helping to redefine what we used to think of as content.So we talked to Tara about her plans at Lowkey - and how the humble music video can prosper in the complicated landscape of creative content.<blockquote>There's a question of what music videos are going to end up being in the next five years.</blockquote>PROMONEWS: How would you describe your new role at Lowkey Films?TARA BARTLETT: I feel like it's a perfect blend of everything that I've been doing up to this point. Music has always really been what's driven me throughout my career!&nbsp;My first in-house production job was at Partizan, where I worked about seven years ago, and I was primarily working on the music videos in my just under two years there. Then in my recent job, at WMA (Weller Media Agency), which is a 360 digital creative service agency for music artists [including Olivia Rodrigo, below], I was heading up the film and photography department, and working on multi-platform creative content.Lowkey, with both its progressive approach to the work we create and how we create it, felt like the perfect place for me to bring these two worlds together, and expand even further with the expertise Lowkey has in the long form space.&nbsp; Head of Music felt more appropriate than Head of Music Videos as there is so much creative to be made in the music space and across so many formats - music videos, photography, short form content, music documentary - the list goes on.[imgtoken data:1]Above: Olivia Rodrigo, client of WMA where Tara Bartlett&nbsp;was Global Director&nbsp;of Film &amp; Photography<blockquote>There's an amazing space for music videos, to use&nbsp;social platforms to our benefit - and create assets that can extend the creative or narrative of the main promo video, in an exciting and purposeful way.</blockquote>How are you bringing your experience to your new job at Lowkey?TB: Lowkey is already established in the music video space, with our great roster of directors, and making powerful narrative work in the feature world.&nbsp;What I'm so excited about with Lowkey, as well as a continued focus on music videos - is to expand our music offering across multiple platforms. With my experience across digital creative, and Lowkey’s expertise in narrative and feature, I’ll be expanding the department across content, photography, and in longer form music documentaries and narrative pieces. There’s a huge appetite from streaming platforms and independent distributors, for music documentaries, where pre-existing audiences already exist.There’s lots of conversation industry wide on how we can best navigate the landscape right now, but I think there's an amazing space for music videos, to use social platforms to our benefit - and create assets that can extend the creative or narrative of the main promo video, in an exciting and purposeful way.&nbsp;I'm personally so excited about what we can all achieve. [Lowkey co founders] Connor [O'Hara] and Jamie [Gamache] are so supportive, and of the direction for the department. Our directors we already have on the roster, are also all multidisciplinary creatives in their own right - in that a lot of them are already also photographers, designers or DOPs, so also really understand the landscape we’re working in - I think we’re all really excited about where we can push it, with considered creativity at the forefront always.&nbsp;How do you feel things have changed in the music video world?&nbsp;TB: I think people in the industry are definitely questioning what the music video will end up being in the next five years. It's quite exciting for me to come at it with fresh eyes -&nbsp; having gone from solely music video production, to focusing on creative in the digital space, and to now be in a position where we’re all thinking about how we can blend the two.It’s definitely more social consumer and engagement focused now as audiences are wanting bespoke content across all different platforms. Therefore, we as creatives have to think further than just the 'cut down' and consider a wider content approach upfront - ensuring that the main music video can be promoted in the right way to achieve success.[vidtoken data:0]What were your highlights of working&nbsp;at Partizan?TB: There were loads of exciting stuff in the music space happening, which luckily I&nbsp;got to be a part of. Dexter Navy had just signed to Partizan, and we did the A$AP Mob&nbsp;music video for Money Man/Put That On My Set -&nbsp;featuring A$AP Rocky, A$AP Nast, Yung Lord and&nbsp;Skepta - which&nbsp;ended up being a twelve minute short film. That's a favourite.We also did <a href="https://www.promonews.tv/videos/2017/02/06/nines-ft-j-hus-high-roller-nines-chris-day/45938" target="_blank">Nines and J Hus</a>, Sean Paul and Clean Bandit's Rockerbye, <a href="https://www.promonews.tv/videos/2016/09/01/jax-jones-ft-mnek-mike-dunn-house-work-ozzie-pullin/43355" target="_blank">Jax&nbsp;Jones ft MNEK</a>, Alma - and more! It was definitely my crash course into production - and lots of hilarious moments and often very stressful! But I&nbsp;learned so much and got to work with so many amazing people in production, and also with directors doing incredible things.<blockquote>[The job] changed very quickly, as content became so much more important in the music space.</blockquote>What were your big projects while working at WMA?&nbsp;TB: There were lots of projects at different scales that I worked on in my five years there - development projects to global artist campaigns, every one was so different. When I started in 2017, the creative team was servicing a lot of the more ‘content creation’ projects as we understood it at the time - anything from behind the scenes, to stills and shorter form video shoots for various platforms. But that changed very quickly, as content became so much more important and considered in the music space.&nbsp;A big part of my role was also working really closely with the talent that we had, both in-house and on our global network. A lot of them went from content creators and photographers initially, to now incredibly established directors and photographers, all doing amazing things in the music and brand space today.&nbsp;[imgtoken data:2]We produced and shot a lot of big artwork shoots, for the likes of Aitch and Louis Tomlinson [above], worked a lot with Ellie Goulding on her wider marketing content - capturing and creating stills and video assets, often captured on the set of her music videos, that carried out the creative campaign across platforms. We also did a big campaign with Mumford &amp; Sons. One of our photographers at the time, Louis Browne, captured an amazing photo series with them, which was plastered all over the tubes in London, which I know was such a fun project and a nice moment for him to see that work stretched in so many places.We worked with global music talent, but also with developing artists to actually build their&nbsp; creative direction from scratch. We’d come into early conversations with management and label, working collaboratively to shape a creative lane for them, which would eventually become their creative identity as an artist, and influence all creative output across their campaign - stills, music videos, social content.<blockquote>I think we're going to crack TikTok very soon - so artists can avoid the trends, and we can create wicked content for them.</blockquote>More recently we did full creative direction for artist Jack Newsome, including all stills - social, press, single and&nbsp;album artwork - and three music videos across the album campaign - including Arms, directed by Louis Browne - logo and artwork designs, live sessions, social&nbsp;content, etc.&nbsp;We also did full creative direction for Olivia Lunny - again including all stills and three&nbsp; music videos across the campaign - including the one for Sad To See You Happy (below).&nbsp;[vidtoken data:1]So do you think that in general music videos need to fit in with a bigger '360' picture&nbsp; better than they have done in the past?&nbsp;TB: Well, in general, yes. I think a nice example of this are the recent videos for The 1975, by Samuel Brady, which as a consumer you really feel like you’re being told a story over the course of the videos, which is what so many albums sonically or lyrically want to do - so it makes sense for the creative to do this also. The videos are also incredibly cohesive with the entire creative direction of that campaign, so any assets you see - instantly take you to that intended visual world.&nbsp;I think especially where the albums themselves tell a story, there's an interesting opportunity for the promos, and wider content, to be able to do the same through the visuals. Almost treating music videos like mini-movies! You can have vignettes of the characters you see in the video’s, living on Instagram, or other platforms that give your audience a deeper dive into the world and narrative. We as creatives can have so much fun with that.&nbsp;There is absolutely still a space for those one-off, out-there, crazy promo videos that almost purposefully feel out of character from an artists recognised creative identity - I love those - and that’s what gets people talking. But largely, I think it’s important to look at an artist's creative more holistically, and for the music videos to feel like a considered part of that - as that’s what gets an audience really understanding them.[vidtoken data:2]Is TikTok-based content part of this larger content landscape?&nbsp;TB: TikTok is an interesting one! Not surprisingly, it was something that I had a lot of&nbsp; conversations around at my previous job, being in the content space, and am continuing to have with labels now.&nbsp;I think there's much more exploration to do from a creative side, because it is still very much a user-generated space, and very personality-led - so it often feels harder to blend into a creative direction that is more visually led on other platforms.&nbsp;Saying that, I think there's still a massive space for it, and it may almost just need some reframing from a music perspective. Video lengths on the app are getting longer, and I’m seeing more and more creativity in the content on there than ever. I think we’re going to crack it very soon - so artists can avoid the trends and we can create wicked, organic content for them![vidtoken data:3]&nbsp;Above: Bartlett worked with&nbsp;Equinox and The Dalai Lama&nbsp;to celebrate his album release of Innerworld&nbsp;and the track Humanity, released for The Dalai Lama's 85th birthdayAre you looking to expand the roster? Any&nbsp;new signings?Absolutely - whilst we’ll always want to keep the roster small and considered, to allow the directors to really thrive, but that’s a real focus for me over the next six months. I have already been having some great conversations with some incredibly talented directors and creatives, so that’s definitely something that’s in the works.We've also just signed the brilliant&nbsp;<a href="https://lowkeyfilms.co.uk/director/lusha-alic" target="_blank">Lusha Alic</a>, who is another multidisciplinary artist, who has shot artists like Billie Eilish, A$AP Rocky and Tyler the Creator. I’m so excited to be working with Lusha and transitioning her further into the world of music videos. She's already been pitching, and there’s a lot of excitement around her in conversations that I’ve been having - so hopefully we’ll be able to share something very cool from her soon.• See the music video roster at Lowkey Films <a href="https://lowkeyfilms.co.uk/directors" target="_blank">here</a>

Tara Bartlett joins Lowkey Films as Head of Music - "It's an exciting time for music videos to marry up with the content world."

A$AP Mob - Money Man / Put That On My Set ft. A$AP Rocky, A$AP Nast, Yung Lord, Skepta

Olivia Lunny - Sad to See You Happy (Official Music Video)

Jack-Newsome-'Arms'-by-Louis-Browne

Inner World: Dalai Lama x Equinox

Louis Browne directs a sensual promo for Jack Newsome's Arms.&nbsp;Taking place amid&nbsp;the vast landscapes of the California&nbsp;desert, the video presents a series of performance vignettes, where Newsome shows off some charismatic&nbsp;dance moves across several distinctive locations.&nbsp;Taking inspiration from the chorus of the song;&nbsp;'What's the point of having arms if I can't wrap them around you?' director Louis Browne embraces the quarantine world and drops the artist into a world of isolation. A lover of films with American desert landscapes, like Paris, Texas&nbsp;and Nocturnal Animals, the UK-born director has&nbsp;found the perfect opportunity to explore shooting in such locations with the this video.&nbsp;

United States

Louis Browne

Emma Stehli

Peter Hou

Michael Justin

Ilya Chegodar

Greg Yaro

Oliver Vaughn

Ciara Maccaro

Cal Laird

Joseph Bicknell

Company 3 Nyc

Jack Newsome 'Arms' by Louis Browne

Louis Browne and Sam Leviton channel the 'Russian dancing kid' viral video in their promo for Dimitri Vegas and Like Mike's cover of Destiny Child's Say My Name - featuring talented young dancer Tavian Wong.

Sam Leviton

Meghan Doherty

Naim Naif

Gaul Porat

Jasmine Chang

Sunnie Kim

Elliott Travis

Pili Weeber

Savannah White

Carlos Flores

Forager

Tavian Wong

Sony International

Dance

Dimitri Vegas & Like Mike Vs Regard 'Say My Name' by Louis Browne & Sam Leviton

Dimitri-Vegas-&-Like-Mike-Vs-Regard-'Say-My-Name'-by-Louis-Browne-&-Sam-Leviton

Youth Hymns take us on a trip into the mind of Snoop Dogg&nbsp;for&nbsp;Arman Cekin&#39;s track California Dreaming, a bright pink, animated world - illustrated by Sarah White - with&nbsp;sexy women, beach bumming, singer Paul Rey, and of course, plenty of Mary Jane.&nbsp;It&#39;s a hilarious visual with stoned rappers, beautiful women in bikinis&nbsp;and&nbsp;Snoop looking like Stevie Wonder at a grand piano. It looks like good times were had by all.And Youth Hymns said of the experience:&nbsp;&quot;We flew to California&nbsp;to shoot in a green screen studio, to simulate California. Now that&rsquo;s what we&rsquo;re talking about. Our favourite moment was when Snoop inevitably hotboxed the Jeep.&quot;

Youth Hymns

Lucy Rogers

Partizan

Claire Stubbs

Lewis Crossfield

Frankie Latina

Nathan James Tettey

Warner Music Group

Jeff Kopchia

freenjoy

Ms Wearer

Jimmy Stannard

Niko Philipides

Zac Adams

Arman Cekin ft. Paul Rey & Snoop Dogg 'California Dreaming' by Youth Hymns

Arman-Cekin-Ft.-Paul-Rey-&-Snoop-Dogg-'California-Dreaming'-by-Youth-Hymns

Nines &amp; Chris Day team up to direct a new music video for High Roller, in which Nines lives a life of grounded excess.Private planes, nice cars, and a party at a flashy apartment are all very nice, but Nines doesn&#39;t let it go to his head. Intercutting the excess of success in with scenes of London estates shows us that he still respects his roots. A slick, stylish promo that isn&#39;t afraid to celebrate.This latest video from new Partizan talent Chris Day comes after his first clip for <a href="http://www.youtube.com/watch?v=xFrBF0Ki_lQ" target="_blank">House of Pharaohs</a> - another great, slick piece of urban London documentation that came out last October.

Nines

Chris Day

Mark McPadden

Matthew Emvin Taylor

Robin Webster

Jomar O'Meally

Kilian Drury

Laura Cottle

Bianca Simone Scott

Charlie Reddie

Adam Clarke

Absolute Post

Nic Sanchez

Kate Desmond

Chris Tobin

Caroline Simionescu Marin

XL Recordings

Hip Hop

Nines ft. J Hus 'High Roller' by Nines & Chris Day

Nines-Ft-J-Hus-'High-Roller'-by-Nines-&-Chris-Day

Youth Hymns bring their hyper-saturated toxic colour palette to a pop performance video.Alma here sings of dying her hair blonde whilst being accompanied by a dancing duo comprised of more hair than human. Only occasionally do we see any glimpse of the dancer&#39;s facial features (they are, of course, equipped with gold teeth) as Alma and the duo dance and sing around a green &amp; pink industrial complex.It&#39;s a bastardised pop performance through the gloriously grungy lens of Youth Hymns - adding some welcome weirdness to the genre...

Kerry Green

Rina Yang

Harry Wheeler

Johnny Lewis

Rik Burnell

Carrie Munden

Holly Sillius

Gina Blondell

Jake - Youth Hymns

Claudia Maybury, Carly Forrester

Emily Ann Sonnet

Alma 'Dye My Hair' by Youth Hymns

Alma-'Dye-My-Hair'-by-Youth-Hymns

Dexter Navy&#39;s epic 12-minute short film for A$AP Rocky is an intense piece of social realism mixed with magic realism - set in London, but with universal resonance.A double video for the tracks Money Man and Put That On My Set, this is an impressionistic take on the thug life, where the drug being dealt are the butterflies that fill the city air. The cast includes&nbsp;actor and screenwriter&nbsp;Said Taghmaoui - from La Haine &ndash; as well as&nbsp;A$AP Nast, Skepta, Section Boyz and Sicilian Tina Kunakey, who plays Said&#39;s precious sister, and the object of Rocky&#39;s affections.Dexter Navy was inspired by seeing a friend&#39;s bags of butterfly wings to jump on the phone to Rocky to convince him that the drugs in the video should be butterflies. Days later Navy was shooting in Ladbroke Grove,&nbsp;transforming that idea into a harrowing, violent, yet visually stunning story.Everything was shot on black and white 16mm Arri (by Pau Castejon), and 16mm Bolex (by Mark Adcock), with visual effects work at Absolute Post - with a brilliant edit by Navy himself.

Dexter Navy

Natalie Wetherell

Lucy Hayes

Emma Stone

Pau Castejón

Mark Adcock

Fran Western

Dan Wombell

Julian White

Will Field

Holly MacDonald

Aj Juttla

Leema Williams (Tina)

Matt Turner

Belinda Grew

Zdravko Stoitchkov

Chace JOHNSON

Polo Grounds Music Inc

Madeleine Sanderson

A$AP Rocky ft A$AP Nast & Skepta 'Money Man /Put That On My Set' by Dexter Navy

Ozzie Pullin&#39;s House Work video takes the household products advert format to a whole new level of strange.In the dystopian future we&#39;re currently living in -&nbsp;a world in which Cillit Bang have gotten rid of Barry Scott and replaced him with a younger, sexier model &ndash; it can feel like there&#39;s little hope to cling onto. That&#39;s where Jax Jones and Ozzie Pullin come in.This brilliant clip is a surreal descent into the madness of a man trying to hold it together to sell some dish soap. The set is perfectly familiar to viewers of daytime TV as,&nbsp;probably, is the cold, dead, thousand-yard stare of the protagonist.&nbsp;

Ozzie Pullin

James Blann

Michael Hobdell

Oliver Hogan

Paul Rodgers

Jamie O'Donnell

Cut+Run

Jack McGinity

Time Based Arts

Yvette Farmer

Sophia Aiudi

Hanan Cher

Polydor

Jax Jones ft MNEK & Mike Dunn 'House Work' by Ozzie Pullin

Jax-Jones-Ft-Mnek-&-Mike-Dunn-'House-Work'-by-Ozzie-Pullin

Between going to the shop, buying food, getting her hair done and force-feeding tea and biscuits to her tied-up neighbour, it&#39;s an active and eventful day&nbsp;in the life of a&nbsp;middle-aged dominatrix for&nbsp;Tom Beard&#39;s humorous new&nbsp;promo&nbsp;for&nbsp;Jamie T&#39;s track Power Over Men.And it&#39;s a recognisably Tom Beard production too, sharing the same seedy darkness and lo-fi look as his previous, unsettling&nbsp;collaboration with Jamie T for <a href="http://www.promonews.tv/videos/2016/07/13/jamie-t-tinfoil-boy-tom-beard" target="_blank">Tinfoil Boy</a>.

Tom Beard

Toby Goodger

Kit Mackenzie

Max Lincoln

Jack Singer

Vic Parker

Raised By Wolves

Taryn Kay, Billy Wright

Helen Kennedy

Universal Music

Jamie T 'Power Over Men' by Tom Beard

Jamie T - Power Over Men

Tom Beard&#39;s video for Jamie T - his first for the London artist, having worked with him on several other kinds of visual projects previously&nbsp;&ndash;&nbsp;is disturbing and compelling, even though not that much happens. As a teenage girl starts her day, she preens in front of her cameraphone - and from that point everything she does, as she meets up with a boy and they set off on a day out,&nbsp;is caught on that camera.&nbsp;The relentlessness of the track - and lo-fi performance footage of Jamie T and band is cut into the narrative&nbsp;&ndash;&nbsp;encourages&nbsp;a sense of unease that works on at least a couple of levels. Quite apart from the threat of something bad about to break the&nbsp;mundanity in the video, it&#39;s that constant&nbsp;self-documentation - and the distancing effect it creates &ndash;&nbsp;that really strikes a chord. It&#39;s not what might happen, because&nbsp;it already has.&nbsp;

Gaia Borretti

Emma True, Adam Bracegirdle, Ross Cahill

Virgin Records

Jamie T 'Tinfoil Boy' by Tom Beard

Jamie-T-'Tinfoil-Boy'-by-Tom-Beard

Youth Hymns have delivered this delightful candy-coated video&nbsp;for New Zealand singer-songwriter&nbsp;Ladyhawke&#39;s A Love Song, set in an 80s video rental store where a bored employee is having a bad day rewinding returned VHS tapes - until she pops in a tape returned by a mysterious character.&nbsp;When Pip Brown aka&nbsp;Ladyhawke flashes onto the screen singing A Love Song, it hits the girl like a cupid&#39;s arrow, driving her to fall in love with - and&nbsp;plant kisses on -&nbsp;everyone coming into the store. Much goofy fun ensues, as the Youth Hymns guys indulge their obsessions with the 1980s and all things VHS, all to a soundtrack of irresistable electro-pop.&quot;Pip wanted to shoot in LA. We took her to Croydon instead,&quot; say Youth Hymns.&nbsp;&quot;When it dawned on us that no video rental stores actually existed anymore, we called our mate Dale from VivaVHS who saved the day. He lent us a few thousand ex-rental classics. Cheers Dale!&quot;

Suzi Simms

David Wright

Ladyhawke 'A Love Song' by Youth Hymns

Tara Bartlett

Production Manager

Interviews featuring Tara Bartlett

Videos featuring Tara Bartlett

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