Independent creative director, video commissioner and creative consultant working across the music and brand space. Previously Head of Creative at Warner Records, Partisan Records, and Ninja Tune leading visual direction across a global artist roster.Based in London, working internationally.

Commissioner

Theresa Adebiyi

Angela Ricciardi directs a vintage-styled promo for Ex:Re&nbsp;- the solo project of Elena Tonra, singer, songwriter and guitarist of the band Daughter - shot over a couple of days in Paris.The video for Radio Station combines gentle performance vignettes of Tonra with snapshots of Paris, as she travels through the city.&nbsp;Shot in a candid, exploratory fashion, the visual is a perfect match to the lilting track, effortlessly transcendent and absorbing from start to end.&nbsp;

United Kingdom

Angela Ricciardi

Hurry Sundown

Dream pop

Ex:Re 'Radio Station' by Angela Ricciardi

Ex:re-'Radio-Station'-by-Angela-Ricciardi

Berlin-based multidisciplinary director Anna van der Velde presents a brilliant vision for experimental electronic artist Actress.Van der Velde's video for Overchord -&nbsp;the second single of the forthcoming album Radical Frame -&nbsp;is utterly transfixing; a&nbsp;sleek yet mysterious visual that mirrors the artist's exploration of identity and authorship in the new album.Built as a frame within a frame within a frame, the video continuously shifts the viewer’s perspective, questioning where power resides: within systems, within the artist, or within the act of creation itself.&nbsp;Van der Velde employs the elements of her practice - in particular the combination of production design, costume and VFX -&nbsp;to explore ideas about creativity.&nbsp;The Overchord visual is an introspection on the structures that govern artistic expression and the tension between external power and internal agency. Rather than offering fixed answers, the film asks the question: is creativity something harnessed by systems of power, or is it the greatest form of power?It is a valid question because although she has called upon considerable talents here to make this film - including costume designer Lucy James and production designer Hugo Harris - the&nbsp;vision is coming from&nbsp;Anna van der Velde. And she is not just a director, she&nbsp;really is an artist.&nbsp;[imgtoken data:1][imgtoken data:2]&nbsp;

Anna van der Velde

Stink Films

Dom Mckiernan

Alexa Haywood at Free Agent UK

Electronic

Alternative

Actress 'Overchord' by Anna van der Velde 

Actress - 'Overchord' (Official Video)

Jessie Ware channels her inner horsewoman - with&nbsp;leading actor James Norton as her willing steed - in Thomas James' steamy and atmospheric video for Ride.Featuring an interpolation of the main theme from classic spaghetti western The Good, The Bad &amp; The Ugly, the song certainly lends itself to having a cowboy-based video. But under James's direction, this takes an untypical turn, and certainly puts Jessie in control: Norton rides into Jessie's life, on white horse Caravan,&nbsp;but she asserts a majestic presence, and he becomes her submissive plaything.With a moody cinematic monochrome palette&nbsp;shot by Natasha Duursma, this sees Jessie the disco diva making a leftfield move into an aesthetic that&nbsp;Thomas James has perfected working for hellraising rock-based acts and&nbsp;iconoclastic rappers like Kneecap. And it pays off, in adding another dimension to her mystique.&nbsp;[imgtoken data:1]&nbsp;&nbsp;[imgtoken data:2]&nbsp;"The video is fully about Jessie and James - and their pretty stellar performances," says Thomas James. "Twisting perhaps, expectations of the handsome alpha cowboy."They approached the project really wanting to push perceptions. We had a lot of rehearsal, and the guys were very keen to improvise..."It was quite a liberating shoot, just rolling with the spontaneity. I think their on-screen chemistry, and there trust in each other, is what makes it what it is."

Thomas James

Chris Murdoch

Disco

Dance

Jessie Ware 'Ride' by Thomas James

Jessie-Ware-'Ride'-by-Thomas-James

Fa &amp; Fon go Rococo to herald the triumphant return of&nbsp;Jessie Ware.&nbsp;Sensual and sophisticated, echoing the aesthetics of Rococo-period art,&nbsp;the video for I Could Get Used To This is set against&nbsp;the backdrop of a modern Garden of Eden, a vision of divine femininity.Through a contemporary lens, Fa &amp; Fon embody the track’s sensuality through layered compositions, bold choreography and a radiant, authoritative energy.It's a stirring, joyful comeback visual that exudes the directors' trademark mix of high-end styling and art direction, and focus on unique performance vignettes.&nbsp;

Fa & Fon

Hands 

Pulse Films

Stitch Editing

Alternative Pop

Jessie Ware 'I Could Get Used To This' by Fa & Fon

Jessie-Ware-'I-Could-Get-Used-To-This'-by-Fa-&-Fon

Harv Frost returns with another spectacular promo for The Last Dinner Party - a surreal Soho-set Western for the first release from the band's second album.&nbsp;The video for This Is The Killer Speaking transforms London streets into a Western-style town, complete with its own dive bar, fashion and... ethereal centaur. Okay, maybe that's a new addition.&nbsp;[imgtoken data:1]In the same ambitious, stylish and often surreal aesthetic as Frost's previous collaborations with the band, it's a fresh vibe and a great introduction to the follow-up to their acclaimed debut LP&nbsp;Prelude To Ecstasy.&nbsp;HARV FROST:"Returning to work with TLDP was a dream, after collaborating together on the videos for the first album and our short for the album&nbsp;Prelude To Ecstasy. We have built such a rich mini-cinematic universe that was a joy to dive back into.[imgtoken data:2]"This time it was about doing something different, we wanted to burn the book on what we have done previously, and create something that combines all we have learnt from our previous videos."The pitch for the video was ‘the band wreaks Western-style havoc in Soho’ so I knew from the start it was going to be a challenge in itself - around the band’s availability we could only shoot on a Thursday morning for the Soho scenes, so that meant lots of curious passers-by&nbsp;and stopping traffic.[imgtoken data:3]"This a complete contrast from the locked-off controlled environments we were used to shooting in for previous videos, it posed a new kind of challenge. Thanks to 1st AD master Rose Lucas and the rest of the crew we managed to pull it all off while causing a bit of a scene."For this video my references were stooped in classic spaghetti westerns like Fistful of Dollars, Django and The Good, The Bad And The Ugly,&nbsp;but wanted to give them this acid-western feeling and shoot them in a way that felt modern without being too pastiche. It was about carving out our own style.[imgtoken data:4]"The challenge was making something that felt unlike past TLDP videos that still kept that DNA. That theatricality and character but with a new lick of paint, a darker palette and an even a bleach blonde wig for Abigail. And in typical Last Dinner Party fashion, a western without horses, but rather, a centaur!"Always such a privilege to work with this powerhouse of a band, and to kick off the campaign for their second album."

Harv Frost

Mouthpiece

Kode

Studio Island

Indie

The Last Dinner Party 'This Is The Killer Speaking' by Harv Frost

The Last Dinner Party - This is the Killer Speaking (Official Video)

Loyle Carner embarks on a dreamlike journey in the self-directed video for the lead-off track from his forthcoming hew album.Loyle (real name, Ben Carner-Loyle) is tucked up in a child-sized bed as the video for Lyin' starts. As water begins to drip onto his head, the bedsheet becomes a device to set him on his travels. He finds himself in bed in the sea, then back asleep, waking up, leaving a public bathroom and entering a rush hour crowd of commuters and then - in a moment of brilliance -&nbsp;rising above everyone else.[imgtoken data:1]Eventually he finds himself walking into a crowded theatre and onto the stage where his bedroom is the set - and he walks back into the room.&nbsp;Throughout, Loyle is talking about the pressures and pleasures of fatherhood - a central theme of the new album&nbsp;hopefully!&nbsp;So the video is itself a surreal exploration of fatherhood, where both&nbsp;inner child and grown-up self are still figuring things out. It leaves things open-ended and unresolved, a cue for the viewer to get closer to Loyle Carner's new music.&nbsp;&nbsp;

Ben Coyle-Larner

Spindle

Company 3

Hip Hop

Loyle Carner 'Lyin' by Ben Coyle-Larner

Loyle Carner - lyin (official video)

Kylie's latest banger, her irresistible collab with The Blessed Madonna,&nbsp;comes with another genius video from Sophie Muller, to further cement her iconic status.In fact, the video for Edge Of Saturday Night suggests that Kylie might actually be immortal. As if shot on the fly during her progress on a wild night out in Ibiza - it was filmed at the legendary Pikes Hotel on the island - starting side-by-side with Blessed Madonna before she proceeds to nightclub, playground, tennis court and finally, fully-clothed dip in a&nbsp;swimming pool, Kylie is a glowing glamourous goddess in every scene and in every format. Not just ageless, Kylie appears to be getting younger...She is certainly revelling in her musical renaissance, and that's the platform for Kylie and her longtime collaborator Muller to do their magic in the video. And it could be hardly described as anything other than magic.By going for the run-and-gun-style approach&nbsp;in its shooting - with sterling work from DoP joel Honeywell - Muller stamps authority through an&nbsp;edit that grabs the viewer from the first seconds. It's a brilliant job, an object lesson in the power of music video editing - like a character in this video of itself.So that's two people cementing their iconic status. And it's certainly the best music video shot at Pikes since Club Tropicana...[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Sophie Muller

PRETTYBIRD

Joel Honeywell

The Blessed Madonna & Kylie Minogue 'Edge Of Saturday Night' by Sophie Muller

The-Blessed-Madonna-&-Kylie-Minogue-'Edge-Of-Saturday-Night'-by-Sophie-Muller

Tanu Muino directs a poolside fantasy for Dua Lipa, set against a breathtaking Barcelona backdrop.&nbsp;The video for Illusion sees Dua perform on brutalist structures alongside a group of athletic dancers and dancers. Spanning slick choreography (on land and in water), extravagant performance setpieces, and an infectious sense of fun, it's the kind of high-concept blockbuster we've come to expect from both artist and director.The&nbsp;collaboration is a match made in Heaven, and this is an instantly memorable and iconic&nbsp;highlight of the album rollout so far.&nbsp;

Tanu Muino

UnderWonder Content

Dua Lipa 'Illusion' by Tanu Muino

Dua Lipa - Illusion (Official Music Video)

Griff gives full rein to her emotions, with the help of a small army of dancers, in Colin Solal Cardo's choreography-led video for Miss Me Too.It begins with the pop singer-songwriter entering an empty warehouse hangar space alone. But once plugged into the music via her Bose in-ear headphones, she is joined by numerous dancers. Then through the course of the song Griff becomes the central focus&nbsp;within this larger entity and channels the emotion of the song through the versatile arrangements of the group.With choreography by Jay Revell and cinematography by Madison McKamey, the promo is&nbsp;beautifully well crafted, yet succeeds in feeling unbridled and&nbsp;spontaneous. A fine way to reaquaint ourselves with the talented Griff.&nbsp; &nbsp;[imgtoken data:1]

Colin Solal Cardo

Studio RM

Griff 'Miss Me Too' by Colin Solal Cardo

Griff - Miss Me Too (Official Video)

Dua Lipa coolly assesses a small army of suitors in Vincent Haycock's dizzying blockbuster for Training Season.&nbsp;The video sees the artist sitting in a café, attracting the avid attention of numerous males, who pile up against the window outside to get a glimpse of her, and occupy every other table.&nbsp;As their stares linger, the whole environment starts to shift, until the men get caught in a whirlwind orbit - much to Dua's amusement.&nbsp;It's the kind of big-budget spectacle we've come to expect from Dua Lipa, with cinematography by Rina Yang, seamless visual effects, a cast of dozens, choreography by Charm La'Donna (for Dua) and Ryan Heffington (for the cast)&nbsp;- and an utterly compelling performance at its core.[imgtoken data:1][imgtoken data:2]&nbsp;

Vincent Haycock

Somesuch

Dua Lipa 'Training Season' by Vincent Haycock 

Dua Lipa - Training Season (Official Music Video)

Dua Lipa returns with the propulsive Houdini and a video by Manu Cossu that adds magic and panache to a dance rehearsal sequence.Shot at the The English National Ballet’s Mulryan Centre for Dance, it's edgier,&nbsp;a bit more 'Tove Lo', than previous videos for Dua by the likes of Henry Scholfield and CANADA - but just as beautifully put together.[imgtoken data:1][imgtoken data:2]

Manu Cossu

Dua Lipa 'Houdini' by Manu Cossu

Dua Lipa - Houdini (Official Music Video)

Jade Ang Jackman directs a breezy throwback promo for Priya Ragu's banging summer anthem.&nbsp;With a beat inspired by UK Garage, the track exudes nostalgic charm, and Jade Ang Jackman mirrors this sensibility in the visual aesthetic.&nbsp;We see the artist drive around the city with careless abandon, linking up with friends and toying with the possibility of romance - in an easy fashion.&nbsp;There's dancing, flirting and plenty of laughs, and in this respect it pays homage to the music video style of the early noughties - simple concept packed full of fun vibes, leaving any angst and worry firmly in the rearview.&nbsp;

Jade Ang Jackman

Wash

Garage

Singer songwriter

Priya Ragu 'Easy' by Jade Ang Jackman

Priya Ragu - Easy (Official Video)

Will Dohrn's searingly intense video for IDLES employs a brilliant visual device to tell several parallel stories of life on the edge in modern Britain.It's so rare to see something which takes the familiar and bring a completely fresh, and instantly identifiable perspective. This is one of those occasions, as Dohrn's camera effectively becomes each protagonist, looking downwards at their own right hand as they go about their daily business.Against the incendary aggression of WAR, the director cuts kinetically between the stories, but building up a tapestry of gritty lives, grim outlooks and, as the camera spirals upwards in the final stage, human tragedy.You will need to watch again (and again) to discern each progression - and that is a key element to the success of this thrilling video which is, conversely also immediately impactful. With an execution as strong and inventive as the concept, it's certainly up there as one of the best music videos of the year so far.

Will Dohrn

CHEAT

Rock

IDLES 'WAR' by Will Dohrn

Idles-'War'-by-Will-Dohrn

Michel Gondry returns with brother Olivier to bring some magic to the world of music video. And the wonderful&nbsp;surprise it is a political satire in childlike cartoon form for the corruscating rock of Bristol band IDLES.Michel and Olivier have visualised IDLES'&nbsp;frontman Joe Talbot's scathing portrait of English village life in Model Village, and Michel in particular has returned to his roots with a burst of childlike imagination delivered in a genuinely DIY fashion, in a wonderfully homespun but ultimately hugely powerful&nbsp;lockdown project.Produced by Partizan in collaboration with WePresent&nbsp;- the editorial&nbsp;platform of WeTransfer, which<a href="https://wepresent.wetransfer.com/story/idles-gondry-model-village/" target="_blank"> premiered the video with an extensive piece on its making</a>&nbsp;- Michel has drawn, cut-out and stop-frame animated&nbsp;his own paper version of Talbot's Model Village. Olivier then&nbsp;added CG enhancement and post,&nbsp;so that it becomes something akin to&nbsp;a pop-up children's book.[imgtoken data:1]If Talbot's sketch&nbsp;of smallmindness and bigotry in the small town&nbsp;where he grew up&nbsp;can be regarded as a&nbsp;swipe&nbsp;at the&nbsp; mindset&nbsp;of&nbsp;Brexit England (and&nbsp;Wales), the Gondry approach lifts it onto another level. This village is populated by pig-people, dominated by the local bully, fuelled on drink, pills and weapons. But there is a beacon of hope:&nbsp;an adventurer-astronaut who aims to escape the confines of the village.&nbsp;Talbot's characteristic vocal&nbsp;delivery works remarkably well with the visuals, which sway between&nbsp;from elements of social comment and&nbsp;surreal flights of fancy.&nbsp;Meanwhile, the element of satire feels like this is the Gondrys paying homage to the great Eastern European animators like Jan Svankmeyer who Michel has venerated since his teens.&nbsp;Watch the Behind The Scenes video, including clips from the directors' Zoom meeting with Joe Talbot at the start of the process, <a href="https://www.youtube.com/watch?v=fsXRa9JZfUQ&amp;feature=emb_title" target="_blank">here</a>.Talbot studied Film at university a decade ago, and has been a Gondry fan for a long time. He told WePresent: “Michel’s work is handmade and it's human and that's something that our society pushes against: you need to be perfect. You need to look perfect and everything needs to be seamless and strong. But actually, vulnerability and naivety are strengths. To be vulnerable and to be naive is to have empathy. And so, to empathise with your adversaries and allow yourself to be naked on film or on record is a really strong thing to do. It liberates you and it also liberates your audience. That's something that I hope that IDLES can do, and that Gondry's been doing for years.”[imgtoken data:2]Also speaking to WePresent, Michel Gondry added: “Olivier and I were excited to work on this because we use completely opposite techniques.&nbsp;I work with a primitive system of cutting paper and moving it under the lens frame by frame. Olivier then transforms it by morphing, warping and CGI. Basically, in the first part we try to illustrate the lyrics as close as possible, to create the world, and then in the second half...they go to the moon.”Ultimately the message of Model Village chimes with Michel Gondry's own creative&nbsp;credo: nothing is more important than freedom of individual expression. And for him the&nbsp;best way to&nbsp;channel that freedom is through childlike wonder.

Michel Gondry

Olivier Gondry

Partizan

IDLES 'Model Village' by Michel Gondry & Olivier Gondry

IDLES - MODEL VILLAGE (Official Video)

Fontaines D.C. bassist Connor Deegan III remotely directs the cinematic visual for I Don't Belong.Capturing a lonely intensity&nbsp;through the cinematography, the visual explores&nbsp;the connection between the safety of being on land and the relative risk and unknown nature of the water, which is a metaphorical riff on the song's lyrics.&nbsp;Vocalist Grain Chattan's performance starts inland, on a large field backdropped by a massive windmill. By the end of the video, he is enveloped by the water, the journey of the track coming to a close, completely consumed by his inner thoughts and anxieties.GRIAN CHATTAN:&nbsp;"This song is a dismissal of the expectations of other people who consider themselves loyal to you. We wanted it to be a statement, almost like the anti-Big [opening song on first album&nbsp;Dogrel], which is why we put it as the first song on the new album. This sentiment of not belonging can be liberating in a way, but it's also lonely and sad. We wanted to show both sides of that type of loneliness."One verse is about a soldier who has his bravery commended by his country, but throws his medal down and refuses to accept the commendation. He sees it as a hijacking and commodification of his principles. The other verse is about someone causing a ruckus in a bar, refusing to be enticed by any sort of friendliness and kindness, wanting to remain in the wrong corner.&nbsp;"I had a few cans before I recorded the vocals, I wanted it to sound like I was playing the role of embittered barfly and feel like the soundtrack of someone swaying themselves home after a cold night out - full of principles but surrounded by nobody."&nbsp;CONOR DEEGAN III:&nbsp;<blockquote>The idea was to use the limitations to our benefit. To try to match the emotional feel of the song but without being heavy-handed.</blockquote>"We had a whole different video shoot planned in London, then all the restrictions hit so we had to figure out how to do something remotely from back home in Ireland. The idea was to use the limitations to our benefit. To try to match the emotional feel of the song but without being heavy-handed. Telling a visual story parallel to the lyrics."I remotely directed the video from Co.Mayo, on the west coast of Ireland, where I am from. It was shot on location on the east coast of Ireland, in Skerries, where Grian is from."Grian’s character goes on a walk, passing by all these places. He’s telling us this dramatic story that slowly grows as the verses go on. At the start you do and you don’t really get a sense of the anxiety or negativity to come. It’s buried under the surface. At the end he submerges himself, completely consumed by his inner thoughts finally coming out into the world."

Ireland

Conor Deegan Iii

Post-Punk

Fontaines D.C. 'I Don't Belong' by Conor Deegan III

Fontaines-D.c.-'I-Don't-Belong'-by-Conor-Deegan-Iii

Rob French keeps things fast and furious for Idles'&nbsp;titanic anthem Grounds, shot in an English town at dawn during lockdown.Joe Talbot takes the wheel of his car and storms through the town's deserted streets, captured by French in a modest nod to&nbsp;<a href="https://www.youtube.com/watch?v=WJYOMFayruw" target="_blank">Rendezvous, Claude Lelouch's classic race through early morning Paris</a>.&nbsp;&nbsp; &nbsp;Frontman Joe Talbot says of “Grounds”: “We wanted to write a song that embodied self-belief, and gave us self-belief - a counter-punch to all the doubt we build up from all the noise we so easily let in. We wanted to make the sound of our own hearts’ marching band, armed with a jack hammer and a smile. We wanted to make the sound of our engine starting. So we did. Thank you."

Rob French

Idles 'Grounds' by Rob French 

Idles-'Grounds'-by-Rob-French-

Hugh Mulhern focusses entirely on a band performance that appears to be beamed in from a TV studio from the distant past, in his video for Fontaines DC's Televised Mind.The&nbsp;approach to the video was clearly dictated by quarantine conditions, but this singleminded, Twilight Zone-style&nbsp;aesthetic gels with the mesmerizing intensity of the track.It's a complete contrast to Mulhern's previous video for the title track from the Dublin's much-anticipated first album, A Hero's Death, which features Aiden Gillan in carefully constructed&nbsp;narrative. But it works a treat.&nbsp;

Hugh Mulhern

Fontaines D.C. 'Televised Mind' by Hugh Mulhern

Fontaines-D.c.-'Televised-Mind'-by-Hugh-Mulhern

Aiden Gillan plays an old-school&nbsp;TV chat show host who is feeling his age -&nbsp;and possibly losing his marbles - in&nbsp;Hugh Mulhern's video for Fontaines D.C.'s A Hero's Death.Gillan is, of course, a master of playing characters who are not heroes, but the opposite - or at least,&nbsp;complex and compromised individuals,&nbsp;driven by their ambition. Much is the same here, as he inhabits the role of self-satisfied TV star&nbsp;Georgie Barnes, who experiences a Groundhog Day-style repetition of the moments&nbsp;in the lead-up to a&nbsp;broadcast&nbsp;where Fontaines D.C. are scheduled to guest.When he visits the green room to meet the band, their&nbsp;failure to bond&nbsp;triggers a nightmarish descent for Barnes. Each time the meeting is repeated, it gets worse, and his world becoming weirder, more hostile. And Gillan's portrayal is so good it makes it possible for to almost feel sympathy for this character who is getting his comeuppance.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Fontaines D.C. 'A Hero's Death' by Hugh Mulhern

Fontaines-D.c.-'A-Hero's-Death'-by-Hugh-Mulhern

Jack Whiteley and Joe Wills get together to conflate the worlds of videogaming, cosplay, and classic disco, to create something really special for Little Dragon.It all starts with a teenage girl rushing into her bedroom to get&nbsp;stuck into her favourite online video game&nbsp;- which introduces us to fantastically off-the-wall real-life cosplay characters, in a country house retrreat, and the fictional Bodins Castle, where all manner . It's there that her blue garbed, pointy chinned avatar&nbsp;meets &lt;lil dragon&gt;, and plenty more intriguing characters (with the occasional 3D figure mixed in with the real).&nbsp;They connect - and then later on the castle dancefloor.With fantastic attention to layers of detail,&nbsp;Whiteley and Wills bring brilliant costume design, makeup, VFX and choreographu&nbsp;- and make regular returns to the charming young player, to create a superbly imaginative&nbsp;soufflé for Little Dragon's Lover Chanting.Brilliant stuff, for a&nbsp;fantastic song, which is&nbsp;taken from their brand new ‘Lover Chanting’ EP which is set for release digitally on 9th November with a special 12” black vinyl release scheduled for 16th November.

Jack Whiteley

Joe Wills

Paul O'Reilly

Homespun

Dance, Pop, Disco

Little Dragon 'Lover Chanting' by Jack Whiteley & Joe Wills

Little Dragon - Lover Chanting (Official Video)

A &ldquo;trippy ode to awkwardness and all things nervous&rdquo;, Hugo Jenkins&#39; video for Maribou State&#39;s Nervous Tics is a thoughtful and stylish&nbsp;exploration of neurosis and suppressed emotions.Each scene exploring the different ways that fear and nervousness can manifest themselves in the body and also in the imagination. &ldquo;Repeated cuts are used to reflect on how repetitive and jarring nervous thoughts can be&rdquo; says Jenkins, &quot;Interrupting the flow of the film in the same way this kind of internal monologue might interrupt a moment of calm.&rdquo;The song itself is about &quot;the low-lying panic of modern life&rdquo; explains vocalist Holly Walker, &quot;We&rsquo;re all on our phones getting terrible news headlines vs. hyperreal Instagram images livestreamed into our brains, and it&rsquo;s making us jumpy. This song is the realisation that no amount of mindful breathing or downward dog can replace some good old fashioned human contact and emotion.&rdquo;

Hugo Jenkins

Maribou State ft. Holly Walker 'Nervous Tics' by Hugo Jenkins

Maribou-State-'Nervous-Tics-(feat.-Holly-Walker)''-by-Hugo-Jenkins

Oscar Hudson returns with his first music video since winning Best Director at the UK Music Video Awards last year, and delivers another gem of in-camera visual effects ingenuity for Young Fathers, shot on a Scottish moor, where all manner of odd things are happening.Now available everywhere, following its Apple Music exclusive, Hudson&#39;s video for Holy Ghost uses thermal image technology to combine a video with a breathtaking look, together with a slow release&nbsp;of dark humour. It&#39;s also a&nbsp;performance video, involving lipsync and choreography,&nbsp;executed over a vast expanse of land - all captured&nbsp;on one camera.&nbsp;That was a rare,&nbsp;high-powered military thermal camera, which led the footage to look infra-red&nbsp;- or as&nbsp;&nbsp;Young Fathers&rsquo; Graham &lsquo;G&rsquo; Hastings has dubbed it: &ldquo;Shot in Infra-Dead&trade;&rdquo; &ndash;&nbsp;and zooming in onto a distant hillside&nbsp;where some very strange things seemed to be happening. As Oscar Hudson explains below, finding the camera and then using it for the purposes of making a music video was a very unusual experience.Shot on location in Perthshire in Scotland, Holy Ghost is a technical marvel, combining cinematography, survelliance and choreography to unique effect. Most importantly, a wicked sense of humour runs through it, from the opening (non-infrared) shot, to the last.&nbsp;&nbsp;

Oscar Hudson

Young Fathers 'Holy Ghost' by Oscar Hudson

Young Fathers - Holy Ghost (Official Video)

For the second collaboration between Salomon Ligthelm and Young Fathers (following <a href="https://vimeo.com/217809089" target="_blank">Mr Martyr</a>)&nbsp;the director was inspired by the track to create a world where dictators behave like spoilt little children, throwing tantrums because things aren&rsquo;t going their way.Sorry, that is the real world. In this case, Ligthelm actually turns our terrifying leaders into children - a great device at the heart of a stirringly satirical and&nbsp;highly entertaining interpretation of the track Toy.&ldquo;The tone of the track is so visceral and abrasive, which I think marries the political subject matter perfectly,&rdquo; says Ligthelm. &ldquo;Looking at the political climate of our time, I&rsquo;d say truth is certainly stranger than fiction.&rdquo;With a wonderful cast of youngsters playing the nasty rulers, great locations, lovely photography (DoP Steve Annis give it a classic look) and a fine edit by Dan Sherwen, this is a very strong addition to the excellent campaign of videos accompanying the new Young Fathers&#39; album, Cocoa Sugar.&nbsp;&nbsp;

Salomon Ligthelm

Final Cut

Young Fathers 'Toy' by Salomon Ligthelm

Young-Fathers-'Toy'-by-Salomon-Ligthelm

Jack Whiteley&#39;s new video for Young Fathers presents itself initially as a recognisable sub-genre of the medium - beautifully-shot, tastefully art directed, evocative and &#39;artistic&#39;. And then it begins to strip away at the artifice.Whiteley&#39;s video for In My View is a meta-satire&nbsp;that like others of it&#39;s ilk&nbsp;works on at least a couple of levels - not least in presenting Young Fathers in a fascinating&nbsp;light. It coincides with the announcement of the band&#39;s third album, and makes you want to hear it.&nbsp;

Young Fathers 'In My View' by Jack Whiteley

Young-Fathers-'In-My-View'-by-Jack-Whiteley

Greg Barnes&#39; &#39;live&#39; music video for Romare&#39;s Come Close To Me starts with his pitch on the phone to the artist to win the video - an enjoyable, hopefully satirical exchange that does for music video directors what Glengarry Glen Ross did for real estate salesmen.&nbsp;But it&#39;s obvious&nbsp;that after the 80s&#39;tastic performance video with hipper-than-thou VHS look, Greg really wants to shoot Romare in his gorgeous Triumph Spitfire. Or is it a Mazda?&nbsp;

Greg Barnes

COMPULSORY

Romare 'Come Close To Me' by Greg Barnes

Romare-'Come-Close-To-Me'-by-Greg-Barnes

Dan Emmerson collaborates with Actress in the high-fashion dystopian video for X22RME.The clip follows a figure in a welder&#39;s mask as he wanders through a brutalist world of minimalism, sculpture, football pitches and models on pedestals. The finished piece is a haunting exercise in style and communication.

Dan Emmerson

Electronica

Actress 'X22RME' by Dan Emmerson

British rapper Roots Manuva is on the loose&nbsp;in this comic video for Crying, directed by Helmi.Groceries spill on the ground, crowds disperse in sheer terror, strollers are left to roll down stairways, and&nbsp;grown men and women cry in their hiding spots as Manuva walks past. And despite all the spine-chilling disruption,&nbsp;all the rapper wanted was to pick up some&nbsp;morning cereal at his local supermarket. And even more absurd is the ending when his fearsomeness gets out of his control and&nbsp;takes a supernatural&nbsp;life of its own...