Raja Virdi expands from his signature live performance promo style with this ambitious production for Dimension, shot in Peterborough Cathedral.Dark narrative elements accompany a performance by the electronic artist in the remarkable space, shot in black and white to fit in with Dimension's trademark monochromatic visual style.But there's also a rave-like energy to the piece, courtesy of a lighting rig of nearly 50 lights/strobes and a huge arena laser, designed by LD Thomas Mason-Smith. And a heavy lift drone carrying an Alexa Mini and Kowa Anamorphics captures the full scale of the location.

Swedish directing collective Stylewar return to music videos after a long absence for the latest visual treat for Bonobo.Like the two previous videos for tracks on the current album, for Kerala and No Reason, everything here is subject to subtle manipulation. In this case, each scene contains looping elements, which keep in sync to the beat of the track.But it's the overarching theme that is really breathtaking: from the overhead shot of a beach to planes landing in formation, time-lapse train footage to a busy port, these mainly stock footage snapshots, lay bare the speed and ceaseless activity of the world as it is now - everywhere – reflecting the themes of Si Green aka Bonobo's current album Migration.

Laurie Lynch captures the city's fast-paced repetitive rhythm - and a heavy dose of angst and paranoia – in his video for Kit Grill's Street Runner.Like a title sequence for a Eighties TV show that was never made, Lynch combines black and white live action with blood-red graphics, following a suited runner through London's brutalist landscapes, to go with Grill's minimal retro-electronica. And there's lots of strobing - always a good thing.

Watch in amazement as Oscar Hudson messes with your perceptions in this single-take journey for Bonobo's No Reason - Hudson's first video since joining Pulse Films.Utilising all practical effects, this incredible video for Bonobo uses forced perspective to shrink down a series of rooms as the camera passes through them, until before you know it the room is barely big enough to fit a hand inside.Littered with subtle easter eggs relating to Bonobo's latest record, brilliant bits of production design and some fantastic lighting effects, this clip is a real achievement - evoking the playful, surreal feeling of now classic 90s-era Jonze and Gondry videos.

Simon Owens embarks on an intrepid adventure across London to meet a bunch of very excitable dogs. And the result is this remarkable, highly entertaining video. Taking a leaf out of Michel Gondry's book of matching innocuous actions up to disparate sounds, Owens uses the excitable tail wags of over a hundred dogs and matches them up to the cacophony of sounds from Not Waving's track 24.If you like dogs (and believe me, I do) then you'll probably think this is ace. If you're more of a cat person (for shame) then you might need a little more convincing. But Simon Owens actually deserves a medal for pulling this off without noticeably resorting to post-production trickery.

Greg Brunkalla's new video for The Avalanches is a '70s New York throwback full of heart and soul, that observes the aesthetics of the movies of the time, then gives it a slight contemporary tweak.It's all set in one New York subway station, and a boy still barely in his teens - very Michael Jackson, circa 1972 – is trying his very best to win the affections of the incredibly disinterested woman working behind the ticket desk. With amazing dancing by the boy , a guest appearance by vocalist Cheeba from Camp Lo, and a whole brass section joining the kid to take this grand romantic gesture to the hilt, it seems sure that he must get the ticket booth lady's attention in the end. Right?

Chris Turner - aka Favourite Colour: Black - gets together with his former assistant, and now up-and-coming director Tash Tung co-direct this surreal, disorientating video for electronic trio Wrangler, led by Stephen Mallinder, former frontman of Cabaret Voltaire, fearless synth and music video pioneers of the early 80s.Here Mallinder unhoods himself in a deserted place, and uncovers an unlikely murder scene, and a journey that leads disconcertingly back to its start. “I never like music to have a single diagnosis, it should be what we each want to see and hear," says Mallinder. "So it was fascinating to see how Chris and Tash’s ideas and imagery in the video resonated with mine, and how the film worked so well with our music." The video was shot in Dungeness in Kent, and Mallinder continues: "Also we all agreed it would be good to have a nod-of-the-head to the early Cabs videos I made with Peter Care, always walking and with me wearing - in this case rather disturbingly - eye make-up. I feel I am quite terrifying in the film which feeds into the unsettling nature of the track. And it was filmed in both Chris, and my, favourite place in England."

Iconoclast, now with permanent offices in London, explode through the gates with this compelling video for French electro trio KCPK by director Nicolas Davenel.In this stunning work, Davenel explores the criminal underbelly of Eastern Europe. The video is rich in symbolism and follows several younger protagonists as they sink further into the underworld, each step they take forcing them to grow up before their time.It's a cinematic, layered and textural piece peppered with wide shots that distort the world around the protagonists. Some very considered cinematography here from Nicolas Loir brings this to life.