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.

Gorillaz co-creator Jamie Hewlett & FX Goby direct a super ambitious promo for new track Silent Running, featuring Adeleye Omotayo.The video is a rip-roaring clash of live action and seamless CGI, and sees the other members of the band help 2-D escape an unfortunate fate. Building upon the narrative arc of the upcoming album - in which the group are spiralling towards a day of reckoning called The Rupture - the video is an inspired mix of Disney fantasy and cult-like horror, which sits well within the greater Gorillaz canon. It's a big achievement, well worth all of the attention it is getting.

Lily Rose Thomas directs a thought-provoking promo for Mr Pash's Midnight. The video for Lonely Man was filmed on location in Margate's Walpole Bay Hotel, and is a profound exploration of good love gone bad, and the fallout of such a relationship. Captured in a one-take performance, the anachronistic location perfectly suits the idea that Ollie Pash (aka Mr. Pash's Midnight) is completely lost in time, and unable to decide what he wants to do with himself. The black and white, timeless aesthetic helps cement this idea. The video is the latest in a long line of collaborations between Thomas and Pash, having made a number of videos for his former band Beach Baby.

Sleaford Mods lament the state of the UK in the brilliant video for UK GRIM. Directed by iconoclastic collage artist and satirist Cold War Steve, the video features a lo-fi patchwork of cutout still images and animation, perfectly suited to visualise the band's message about the damage wrought on Britain by years of Conservative rule and Brexit. In the fashion of his vibrant artworks, Cold War Steve creates information-packed compositions depicting the likes of Farage and Rees-Mogg, Thatcher, Rupert Murdoch and Boris Johnson, presiding over Hellish landscapes of a collapsing Britain. With suitably bold imagery, the artist captures the chaos of the country with a nod to the work of 16th century artist Breughel, which also gets included in Cold War Steve's crowded collages. A brilliantly appropriate and timely satire.

Joe Wheatley directs an idiosycratic and mysterious road movie for Ben Woods, aka The Golden Dregs.The black and white promo for Before We Fell From Grace opens with two characters travelling by foot across a wintry landscape. One of the pair - played by dancer Joe Grey Adams - is dressed entirely in white, and leads the other in a flamboyant folk-dance, seemingly inspired by some kind of otherworldly force. They reach a lake, and then the other character - played by Woods - pulls out a mysterious object. They walk further across the terrain through woods to a place where this enigmatic journey reaches its climax."Ben approached me after Mark Jenkin, my old university lecturer and friend, never got back to him - and I don’t mind that at all," says Joe Wheatley. "He had some key references such as Bait, Paris Texas and True Stereo, my video for Willie J Healey. If there’s anything I might know how to do it’s people wandering around in places."I loved the track. He’s an extremely talented artist and fellow Falmouth graduate. I had some pretty heavy duty darker ideas that he liked but we ultimately settled on this kind of meditation on loss. Initially Ben wanted to find a body but we settled on the thing in the video that I still don’t know how to describe but the amazing prop maker, Rosie Tonkin, seemed to be telepathic and absolutely smashed it. "For the majority of my filmmaking I’m having the most fun dreaming up a project and then executing it. My enthusiasm wanes when I cross the finish line as I’m often worried if it’s any good or not. This project has been the exact opposite for me. Our first shoot day was cancelled midway through. We then waited a month whilst Ben was on tour to complete the shoot."As the sands of time rolled on to our second shoot day we battled with daylight saving hours, some of the worst rain I’ve experienced, a pheasant shoot holding us up and Ben getting an unauthorised haircut. Needless to say I was thrilled to get this one across the line."

The second in a series of videos by William Williamson for Philip Selway of Radiohead's forthcoming solo album Strange Dance continues the story begun in the first.The video for Picking Up Pieces features the same quartet of iconic dancers as the video for Check For Signs Of Life: Siobhan Davies, Kenneth Olumuyiwa Tharp, Liam Francis and Simone Davies - with the piece also choreographed by Liam Francis and Simone Davies.Once again, it is filmed as a one-shot, with cinematography by DoP Adric Watson, this time working with colour 16mm film. The video features a spinning camera movement designed to mimic motoric pulse of the track, and takes it’s gorgeous golden brown autumnal colour palette from a painting made by artist Stuart Geddes in response to Selway’s new album.“We all viewed this film as a continuation of the last, with the choreography having echoes of our characters worlds whilst simultaneously unfolding new elements and emotions," says Williamson."I love the idea of creating a synergy between the music and the camera movement. So we not only decided to shoot this as a one take again, but the motorik pulse of the track and the powerful lyrics perfectly lent itself to a predominant circular camera movement."Working closely with the dancers we wanted the constantly moving camera to be always revealing different components and layers of the performance, drawing attention to specific points within each frame as it passes by and the story slowly unfolds.“

Ewan Jones Morris takes us back into the marvellous world of cut-up montage animation - and then adds a modern tech spin for good measure - for South London indie band Hotel Lux.The video for the rather excellent Points Of View is a surreal mash of performance and textures, with a nostalgic zine aesthetic, courtesy of the technique of mixing cut-out stills with lo-fi video of the band performing, and other paper elements, that Jones Morris executed with the help of Louise Mason and William Reid. Together the three of them run a 'collage club' at State51, Hotel Lux's label, called Sticky Pleasure, where people hang out and make collages. So the video became a logical extension of that project.But as well as creating animating in the old-fashioned stop-frame way, Jones Morris also employed some AI to extend the capacity of the form. The effect is to super-charge the animation without disrupting its essential character.So body parts and landscapes entangle, faces crumple and eyeballs appear at every corner, in this wonderful, whimsical piece of work. "The video is pretty straightforward, low budget fare: lads, guitars and paper collage," explains Jones Morris. "But despite it's lo-fi DIY aesthetic some of the imagery is created by feeding collages into AI algorithms and seeing how the images are reinterpreted."I guess it's partly an attempt to utilise some of these already ubiquitous AI image generators in a very handmade, lo-fi way."