Carlota Guerrero directs a dazzling, challenging promo for Ellie Goulding.The video for Let It Die presents a series of performance setups, blending contemporary aesthetics with raw, primal movement and animalistic instinct. Visualising the breakdown of a relationship through these abstract scenes, the contrast of refinement and spontaneity bleeds into every element, from the gallery-esque location to the sensational styling - including a naked breast-revealing bra top worn by Ellie.

Callum Lloyd-James directs a stirring promo for Grace Gachot.Inspired by Yayoi Kusama’s infinite mirror rooms, the video for F***boy Tragedy is a bold introduction to this new artist, emanating effortlessly cool vibes through an amalgam of emotional perfomance and striking art direction. Though the concept doesn't move from the mirrored room, there is more than enough for viewers to feast their eyes on, with an expansive aesthetic that feels as haunting as it does stylish.

Following frontman Alex Turner's video for There Ought To Be A Mirrorball, Brook Linder picks up the baton to create a breathtaking video, again glorying in the beauty of the moving image of its own sake, for Arctic Monkeys. Linder's video for Body Paint is a montage of abstract vignettes, each carefully considered and filmed, building a sense of mystery through the placement and contrast of different visuals and iconography.It's imbued with themes of vintage cinema and moving image (with the large-scale zoetrope as the most notable example), and peppered with throwbacks to famous paintings and artworks. Most importantly, this works brilliantly as a visual accompaniment to the new sonic direction of the band for their forthcoming album The Car, and is all of a piece with Turner's video. It's a homage to the sort of filmmaking by Jean-Luc Godard, the great disruptor of cinema, and others from the classic age of 'arthouse cinema' - but it also feels crisply contemporary. Great work.

J. R. Dawson directs a warmly reflective promo for Private Agenda. In the bizarre and beautiful world of Neo-Nostalgia, four archetypical personalities use fashion, art, literature, and movement to show and hide the intricacies of their inner selves.The video presents an abstract and nostalgic journey through the process of making and creating, exploring the facets of how we show our true personalities to the outside world.

Visual artist Jonathan Zawada crafts an enchanting animated promo for Casper Caan's Pretty, blurring the line between art installation and music video. Dynamic layers and silky textures interweave in the 3D environment, forming human-like shapes in an abstract fashion. Transitioning to an Escher-like architectural dreamscape, the video cycles through perpetually shifting forms before arriving back full circle. It's quite hypnotic, and impeccably executed.

Samuel Douek directs an empowering promo for Little Mix's Love (Sweet Love).This is Douek and the group’s third collaboration, celebrating ten years of Little Mix, and is the title track from their forthcoming album.The concept was inspired by the Pre-Raphaelite art movement and the lesser known Sisterhood that romanticised nature and emboldened women through painting.“I wanted to celebrate Little Mix as the regal queens they are; unimpressed by a cohort of Knights that vie for their attention,” explains Douek. The opulent promo is shot in a spectacular orangery-style space, adorned with a mesmerising selection of plants, whilst the styling and makeup create a fantasy world that really bring the track to life. This is one of the first films to come out of CAMP Productions, recently founded by Douek and executive producer Francesca Woods.

Sophie Jones directs a visual feast for Amber-Simone's Black, No Sugar. Taking its name from the artist's upcoming EP, this video is the first of two live performance promos, with the second part arriving later this year, alongside her next single. A celebration of her Black heritage, Amber-Simone has written a song she believes she needed to hear when she was younger - an anthem for those questioning their validity or beauty. The cinematography takes its cue from the music, the camera darting and swirling one minute, before settling on a still moment in anticipation of ramping back up again. This unexpected and raw movement leans into the authentic nature of the track, and the idea of creating art that might not conform to everyone's expectations, but is true to your own journey.“With this project, I wanted to take the opportunity to reintroduce myself and show what I’m all about," explains Amber-Simone. "Between now and my last EP a lot has happened and I feel the truest to myself I’ve ever been. Creating this visual and releasing Black, No Sugar feels like I’m finally stepping out into my womanhood and art, creating music that really matters to me."When it came to the video, meeting Sophie and feeling as though she really saw what I was seeing felt like such a breakthrough. We talked and she just got me straight away. So it’s been such a pleasure to have created this piece with another woman who’s such a force."I feel like I chose the most authentic way to communicate this song to people. Real instrumentation and playing was ultimately what inspired the writing process and what inspired me down this path in the first place. The video combines the perfect balance of an aesthetic I feel really captures my essence and music in its rawest form – live.”

Artist and filmmaker Hans Neleman presents an abstract promo for The Psychedelic Furs. Intertwining art, photography, collage and stop motion - and paying homage to frontman Richard Butler's paintings - the video for Wrong Train explores the theme of a disintegrating relationship."The idea was to deliver something rooted in a more abstract realm rather than illustrating the lyrics literally," says Neleman. "I photographed and filmed Richard while painting his face as if he were delivering an art performance. Butler’s own artwork also focusses on obscuring and distorting faces with paint so we had a very symbiotic understanding during the creative process.” Restricted by Covid-19, the video was made in Neleman’s home studio in Connecticut, without any crew. More footage was shot in Middletown, New York, at Michelson Studio. Sadly this was to be the last film shoot at the upstate location, as the entire building burnt down to the ground a few weeks later, caused by a fire which originated in a neighbouring factory. A true feat, the visual is a perfect match to the lilting track, and a testament to the work of the entire creative team.