Sonia Bernardo plays an unreliable self-help 'guru' in Harry Tomlin's absorbing musical drama for the British/Portuguese singer-songwriter's song What, If Not The Family?The video is set in a community centre self-help group, where Bernardo talks (and in fact sings) to the assembled, reading from a printed leaflet. She paces around the room, bewitching the group as they listen intently. The camera lingers on their faces - and then members of the group start dancing, demonstrating the psychic hold that Bernardo now has over them. With a gently surreal, slightly unsettling sensibility - the use of slightly-off eyelines and unusual composition leans into this mood - Harry Tomlin has created an enigmatic, palpable atmosphere to frame Bernardo's performance of the song. "Sonia and I discussed this piece being an exploration of ideology and a narrator that we can't fully trust," he explains."She also wanted to incorporate the Portuguese dance 'bachata' which really excited me, giving us a chance to explore this contrast between the serious, stiff reality and the fluid, surreal dance realm."[This allowed] us a window into these people's soul through the slow embrace of dance," Tomlin continues. "I wanted to use Sonia's audience as a mouthpiece for the lyrics, both literally and through their body language."

Milo-G takes a trip through his TV during some late night channel surfing in Sebastian Kensey's video for the Yellow Days drummer's solo debut single.In the promo for Verge Of Collapse, Kensey thrusts Milo-G from his sofa into a crime drama, a chess match with Death and onto a mirror-image TV viewing room in a video matching the anxious energy of the track.The video is Sebastian Kensey's music video directing debut and, produced by Zara Trott, its an impressive effort, well served by the kinetic cut by editor Maud Barry.

Kendrick Lamar's latest collaboration with SZA is a romantic homage to one of the greatest ever R&B singers, Luther Vandross - who is sampled on the track. The video directed by Karena Evans is just as romantic - and also super-stylish and epic in the manner we have come to expect from Kendrick videos.Like the promo for his previous monster hit Not Like Us, the video for Luther is a beautifully art directed, spacious affair which makes superb use of location to frame the artists' presence - and they are rarely in the same frame.This also marks the return for Karena Evans to music videos. The director, who came to wide attention with her videos for kendrick's arch-enemy Drake, including God's Plan, has been focussed on TV in recent years - including the Donald Glover show Mr & Mrs Smith - and this is her first promo since 2021.

OK Go are back doing what OK Go do... this time with the help of robots.The video for Love - the second from the band's first album in more than ten years - is a real OK Go special: an incredibly complex, brilliantly choreographed performance delivering a momentous visual experience - this time with a kaleidoscope theme being central to proceedings. And of course, it's achieved in a single take.It may not be quite at the scale than some of their most outlandish productions, such as filming in zero gravity, but this has the full spirit and essential creativity of an OK Go video from back in the days of Here It Goes Again, with a great deal of outstanding technical input from their latter work. It is designed to dazzle, and it succeeds.From the start we realise that mirrors are going to play a big role in this one. And then we find that mirrors are moving in choreographed motion on robotic arms. Soon lead singer Damian Kulash is embarking on a series of costume changes, while performing, including a mirror suit. He and the band move through through a series of connected sequences that, in the grand setting of a 19th century Budapest train station, has the faint aura of a Busby Berkeley production in the golden age of Hollywood.The full involvement of the robots with the mirrors - and the way they create kaleidoscopic effects and play tricks on the viewer - can only be explained by watching the fascinating Making Of video. But as in all their previous videos, Kulash has played the primary role in the devising of the video, collaborating with an array of talents. And also, in this case, 25 robots. Conceived in partnership with creative agency SpecialGuest, produced by 1stAveMachine, with technology integration by SpecialGuestX, it's co-directed by Kulash, with Aaron Duffy and Miguel Espada. Other partners were project management experts PMI (who also worked on the previous video for A Stone Only Rolls Downhill), Universal Robots, Ray-Ban and Meta. The band wear the Meta-enhanced Ray-Ban glasses quipped with camera, audio and voice assistant functions, which created footage for the BTS video.“I still can’t believe we pulled off Love in a single take," says Miguel Espada, co-director and executive creative technologist at SpecialGuestX. "For me, this video is a statement of how creative storytelling and cutting-edge technology can work together. It wouldn’t have been possible without the collaboration of humans and machines.” “This is the kind of branded partnership you dream of - a product that is uniquely suited to help push the creative in a way no other product could," says 1st AveMachine executive producer Andrew Geller. "We've poured so much into crafting something truly original, and seeing the behind-the-scenes through the band’s eyes as they navigate this wild run of visual sleight of hand makes it all the more special.” Finally, its worth pointing out something that may not be sufficiently recognised due to the fact he's also a musician: Damian Kulash is a genius-level creator in the artform of music videos. This video does not prove it - numerous other OK Go videos do that. It just reinforces it.Here's Damian, about the inspiration for the song Love that led to the video: “You know that dream where you’re somewhere familiar, maybe your childhood home, but there’s a door, one that was never there before, leading to some impossible magical place? Having children did that to my understanding of love. Suddenly, a huge new ballroom opened up off the little apartment I’ve inhabited so long - a whole new wing of love, grand and soaring and utterly overwhelming."It is endlessly amazing that we exist - little, conscious clusters of stardust occurring, apparently by chance, in the vast emptiness of the universe. And we get to experience love. It is unbelievable.”