A naughty schoolboy goes on a sugar-fuelled rampage, in French director and graphic designer So Me's promo for Riton's infectious Sugar - featuring Soaky Siren. The eccentric promo sees the young rascal (played by Ethan Wesley) tear up the town, stealing various sugary treats in a riotous, explosive adventure - much to the dismay of the poor people trying to go about their day.With frantic, in-your-face cinematography, a great supporting cast, some laugh out loud moments - as well as some lively choreography - it's a brilliant video that takes a fun concept and pulls it right to the edge of absurdity... and the track couldn't have asked for a more catchy visual.

Stephen Agnew directs a curiously offbeat promo for Arborist. The video for Matisse sees the artist perform in an industrial location, whilst the making-of the video is referenced and interpolated right back onto screen. It takes a bit of wrapping your head round the concept to understand it, but in some ways, that's the beauty of the video. Confused yet? Let director Stephen Agnew explain... "Interpolating an interpolation before interpolating that interpolation," says Agnew. "My jumping-off point for this video is Lars von Trier's film The 5 Obstructions, itself a film that interpolates Jørgen Leth’s Perfect Human."I thought it would be fun to use this as a device to literally frame and interpolate the works of art and artists Mark mentions in the song, including but not limited to an inordinate amount of screen time dedicated to a urinal."After we set this premise we extrapolated it, inverting and slowing the footage while referencing ourselves making the video, via a Gondry-inspired camera setup before FINALLY revealing the artifice of the whole project."A sort of snake eating its own tail. But a fun snake made of cheap wood, cardboard modern art, cellophane and a LOT of favours."

Hugh Mulhern directs a visual assault on the senses for Hak Baker's fierce anti-tech anthem Telephones 4 Eyes. Mulhern's video is a mesmerising clash of live action, animation, stock footage and VFX, smashed together in a frantic, hypnotic fashion - with a little help from AI. In the song, Baker is lamenting the state of the society we live in today, and the video matches the lyrical content of the aggrieved track, and the deluge of visual iconography matches the neverending stream of content we consume on a day-to-day basis.And in a real change from his excellent back catalogue of music videos, the most you see of Hak Baker is his mouth appearing from a tear in a man's stomach. You won't not be looking at men's torsos in the same way in the near future. Taking advantage of trends whilst completely flipping them on their heads, Mulhern has created something singular and visionary, which not only brilliantly reflects the times we are living in, but also a project that is impossible to tear you eyes away from. "If I told you I had an initial rationale for everything in the video and it was all carefully figured out, I’d be lying," admits Mulhern. "In truth it was one of those ideas that came together almost instantaneously. I think that’s to do with how clear Hak’s ideas are in the song. Tetsuo the Iron Man was a key image, and I also think the inside of [the song’s producer] Dan Carey’s studio played a part in inspiring our phone thief’s lab. HR Giger meets Abe’s Odyssey circa this weird stop motion cartoon called Mr Bumpy."We spent hours figuring out what found footage felt right and was obscure enough to feed the sensation of over stimulation. We intentionally wanted to steer away from doing anything that felt too political or pointed when the song was carrying that message so effectively."Things went off the deep end in the final few days of the video. We sent some stuff over to Dom (infinite.vibes) to create AI sequences stylistically informed by the stop motion animation and what he sent back far exceeded my expectations. It’s my favourite thing I’ve made to date and all I wanna do now is expand on the techniques we experimented with.”

Ivanna Borin directs a mesmerising, hugely entertaining video to herald the return of emo-rock legends Paramore. The video for Running Out Of Time visually represents the idea of leaving things to the last minute, forgetting important tasks and overall having a frantic mind - I'm sure many of us can relate. We see Paramore's lead singer Hayley Williams in the studio, apathetic and uninspired, before several instruments come to life, leading her to jump through a guitar case and into a vibrant dreamworld.It's the kind of concept that would feel at home in the early Noughties, with plenty of wildly ambitious ideas and an overarching sense of fun, pulled off to perfection by the Underwonder creative team. With a heavy dose of Alice In Wonderland by Tim Burton-inspired environments, absurdist vignettes and a photographic, high-fashion sense of style, it's packed full of iconic moments. A brilliant addition to the group's already formidable videography.

American singer and comedian Oliver Tree takes us on a journey into his eccentric world, as he unleashes his inner clown, in this entertaining self-directed promo for Miss You. For Tree's collab with German DJ and producer Robin Schulz, the video takes a fly-on-the-wall look at the artist's behaviour as he interrupts everyone's daily lives and routines, acting a nuisance, albeit in a highly idiosyncratic manner.The opening scene features Tree in a characteristically oversized outfit, running atop a police car, guns trained on his body. Does it phase him? Not a bit.Bring on a frenetic stream of chaos: smashing up an office, interrupting a kid's football match, and robbing a grocery store - while accompanied by the clown character, who is presumably Tree's alter ego, but is actually a bit less sinister than he is...Playing out in an unabashed fashion, the video includes clever mouth-to-mouth transitions and a glossy, slightly surreal aesthetic ripped straight from your creepiest daydreams.

Ricky Allen directs a very silly and highly enjoyable promo for Trampolene, featuring an older man with a complete aversion to doing the washing up.Allen takes a comedic, absurd concept and runs with it, creating something surprisingly stylish and engrossing. It's a refreshing and unexpected comic idea that suits the yearning music, which is built on the foundation of two strong performances - from Taryn Kimber and Ray Bull.The director is also keen to stress, perhaps a bit too forcefully, that the story is not autobiographical."All characters appearing in this work are fictitious," he says. "The man being allergic to washing up has no resemblance to the director (me) or his life. In fact, [the director] loves washing up, absolutely adores it, especially all the lovely dirty plates, sponges, and other ‘apparatus’ used to clean the dishes. You could not get him to wash up more."Any comparisons to the director will be met with a lawsuit for defamation of character, but more importantly, he will be upset. Because he loves washing up. Please don’t forget that. He’s actually just ordered a second serving of washing-up liquid. So fresh and so clean. That’s him. Ol' Ricky Washing up boots.......yeah."