Sophia Amato self-directs the evocative promo for ISAIAH. Shot on 16mm with artful VFX, the video balances nostalgia and futurity, embracing farewells with new beginnings.Inspired by Noguchi's philosophy: 'everything is sculpture', ISAIAH is set in an unoccupied building with concrete pillars. This minimal infrastructure feels on the cusp of ruins or almost purposely constructed. There’s a feeling of strength, stability, as well as detachment.Anchored by an absorbing performance, the video perfectly fits the intentional wistfulness of the track, whilst providing a challenging yet ultimately hopeful perspective of moving on."ISAIAH is an acceptance of goodbyes," Amato explains."Nothing ends, it only moves."

Long term visual collaborators Adam Smith and Marcus Lyall direct an evocative promo for The Chemical Brothers, in a variation of the distinctive style that has graced the directors' previous videos (including the superb Eve Of Destruction) and live visuals for the dance behemoths.Starring actors Zofia Wichlacz and Mateusz Wieclawek the video for Goodbye explores different moments in an intense relationship, overlaid by hallucinatory textures and patterns. The video boasts a quick-cut montage of clashing emotions, reflecting the dizzying speed in which our relationships and feelings can change. Feeling like an engaging middle ground between music video and the stunning visuals that Smith & Lyall have created for the Chemical Brothers' live shows for years, it's a powerful accompaniment to the electronic track.

Abigail Wilson's wonderfully silly, DV-shot video for Liverpool indie band Stone - where lead singer Finlay enters a dance battle with a buffed rival - won a Best Rock Video Newcomer award at last month's UK Music Video Awards.It's a familiar Rocky-like tale of winning against the odds - set in a Croydon games emporium - and hugely entertaining due to energetic performances from band and supporting cast, within a lo-fi Noughties aesthetic.After her success a couple of years ago with her video for Modeselektor, this confirms that Abby Wilson knows her stuff when it comes to zany comedy. She handmade those 'punk rock' titles herself too.

In 2015 Will Robson-Scott and Ollie Grove released a book titled In Dogs We Trust, a series of portraits of dogs and their owners, shot on both sides of the Atlantic, from Crufts to Compton.Eight years on and Robson-Scott and Grove have revived the project, heading off in Leyton, East London to snap singer-songwriter Humane The Moon with his new pup Mabel. The resulting photos, and selections from the book, now comprise Robson-Scott's video for the artist's I Saw A Dog.The video is entirely comprised of stills and that works really well - thanks to the sterling work of editor Lydia Bowden and animator Jack Sheldrake, as well as the quality of Robson-Scott's and Grove's photography.

After his outstanding videos for Residente's This Is Not America and UKMVA-winning Fatoumata Diawara's Nsera, Gregory Ohrel has directed a two minute commercial for German discount retailer PENNY for their seasonal social awareness campaign that is hugely impactful.PENNY's new campaign tackles a pressing social issue: children's rights. This is explored through different individual stories, in a series of interlinking dramatic vignettes - a technique that Ohrel has mastered, including in those aforementioned videos. We see how relatively accepted adult behaviour in the modern world applies huge pressure on children, and leads to what is a real epidemic of mental health issues among the young.Thought-provoking, heart-rending and a proper call to action - exemplified by the children's protest march that climaxes the film - this is one seasonal ad that definitely should demand your attention.

V.I.C's Two Sides follows in that sub-genre of songs where two people, usually a man and woman, present difffering viewpoints (including that notable festive classic, Fairytale Of New York). Matthieu Livingston's video for the song also harks back to the past - and has two distinct parts.The video is framed as a mid-century period piece, with the main part is set in a deserted café, where V.I.C and his girlfriend are situated engaged in an uncomfortable - and possibly relationship-ending - exchange. But its intercut with flashbacks to an earlier and happier part of their romance, delivered in hazy home movie style Super 8mm."With Two Sides, the goal was to create a compelling music video that not only showcased V.I.C as an artist and storyteller in the contemporary rap scene but also delved into both female and male perspectives on relationship issues," says Matthieu Livingston."To enhance the song's theme of enduring societal norms, we immersed the visuals in the 1950s, metaphorically representing the era's expectations and divisions which are transferred and still seen in nowadays relationships."Choosing simplicity over grandiosity, we filmed at Regency Cafe, aiming to convey the narrative through casual conversations to foster a personal connection with the audience. Particularly influenced by Paris, Texas, we shot the resonating scenes on Super 8mm. The rest was shot on 16mm to complete and enhance the aesthetic of the project."

Guy Gooch, just signed to Stink Rising, directs another promo for up-and-coming singer-songwriter Ray Laurél, stepping away from his wheelhouse of technical, gritty ideas to explore a choreography and performance-driven music video - performed by Laurél himself.Gooch and Laurél have previously collaborated on a number of the artist’s music videos - Unconditional, Charles Jeffrey, and U SAID! - all of which have taken a mixed-media approach, with live action augmented by lo-fi animation techniques. For My Luv, things are more straightforwardly cinematic, as the duo set out to explore the theme of ‘other-isation’, particularly within the context of queer identity.Laurél, who uses they/them pronouns, performs a lyrical dance metaphor that represents their conflict with social binarism;a strong and expressive performance, representing an internal and physical battle with themselves and the expectations inflicted upon them.

Australian animation director Bernard Derriman - probably best known as a supervising director of the Bob's Burgers TV show, and co-director of the recent The Bob's Burgers Movie - has created a poignant animated video for The National's collaboration with Phoebe Bridgers.In Laugh Track, Derriman presents a simple, sharp idea to represent the human predicament, and reflect the sentiments of The National singer Matt Berninger and Bridgers in the song. An unassuming couple, simply rendered in the classic 2D style, are threatened by a 3D menace: a sea of 'laughter' balls, that threatens to engulf them.Can our brave couple - let's call them Matt and Phoebe - repel the endlessly rising tide of inanity?