Helena Ganjalyan and Bartosz Szpak direct a cinematic promo for Luna. The video for Dynamite is inspired by the photography of Gregory Crewdson, and sees a woman walking through an empty, absent space, surrounded by glimpses of other people's futures. Alluding to the story of Kassandra - who foresaw the impending destruction of the city of Troy, but was unable to prevent it - the video experiments with ideas of intimacy, sensitivity and suffering, in a build up to a catastrophe. Beautifully shot on Kodak 16mm film, the video is stunning to look at, and the contrast of interior set decoration in the middle of the dark outdoor space creates an eerily dreamlike vibe.

Saad Moosajee directs an awe-inspiring promo for the unmistakeable Woodkid - the musical alter-ego of Yoann Lemoine. Playing out like a duet between organic forces and burgeoning machinery, the video for Reactor is set many years in the future inside a volcanic megastructure.The film took over a year to create and combines Unreal Engine live choreography recorded with motion capture technology and keyframe animation. The team consisted of only three full-time production artists - including lead animator Daniel Callaby and technical director James Bartolozzi, who developed a suite of bespoke production tools that made it possible for a small team of artists to do all of the visual effects work.Breathtaking textures amalgamate in an otherworldly, haunting atmosphere, and the video as a whole is a tour de force of innovative creativity, with the nature and operatic scale of the imagery is very much a continuation of the world of Woodkid.“Our vision for the film was to have an environment that felt alive - so much so that it became a character in the film," explains Moosajee - who has previously created brilliant painterly animations for the likes of Thom Yorke and Mitsky. "To achieve this, we created over 100 unique lava and smoke simulations using tools by Thomas Marque and James Bartolozzi.“We approached the VFX for this music video through the lens of an animated feature film workflow, developing custom production tools and software to visualize such a unique story and landscape."This song was inspired by the films made in the golden age of 80s and 90’s Japanese animation – Akira and Ghost in The Shell - as Woodkid explains."I wrote Reactor for the Suginami Junior Chorus (Japan), and we recorded the piece in 2020 in Tokyo. It is an homage to repetitionist and minimalist music and an homage to the Japanese anime that was part of my culture when I was younger.”He adds that he contacted Moosajee when his album S16 was released two years ago. “I was already a big fan of his work. We share the same passion for animation and motion design, and for dance."When he asked me to do a video for one of the songs off the record, I immediately accepted and gave him the time to produce this beautiful film that gives a new dimension to the song. It’s a perfect gift to the fans for the two years of S16.”Moosajee adds: “Our intention was to create something deeply personal that could communicate the feeling of being swallowed by the world around you. About trying to breathe in a place where no one and nothing can breathe anymore.”

Colin Solal Cardo directs a spectacular promo for New Zealand singer-songwriter Kimbra, blending movement and intimate expression to create a powerful performance montage. Moving at a breathless pace, the video for replay! sees the artist explore an empty studio space as she flips, bends and crawls, externalising a sense of primal instinct and self-discovery. It's breathtaking, it's brazen, and it's completely mesmerising.Centered on physicality and Kimbra's ownership of the space she inhabits - and the emotions that come with her performance - the video is a tour de force of dynamic cinematography and razor sharp editing, and will no doubt create a buzz for a long time to come. Stunning and standout work - and a brilliant return to the medium from the marvellous Colin Solal Cardo.

Maïlis directs a touching promo for Apacalda, featuring dancer Brittney Canda.The film tells the story of a tragic event that took place in the artist’s childhood; the death of her father. He died due to a gas leak in the heating system of the room he had rented during his travels in Romania. This room was intended to share intimate moments with his mistress, a young woman who also lost her life after this encounter.Written in the first person and from his perspective, the lyrics are based on what her idea of the last minutes of her father’s life were and the thoughts that were coming to him in that final hour.Shot with lingering, foreboding shots of the characters left behind, the video experiments with movement and space to visualise the internal conflict of the situation. "We imagined that with a dizzied mind, in an almost dreamlike state, his last thoughts were devoted to them, his family, his wife and two children that he was now leaving behind," Maïlis mentions."There is a sense of guilt, shame, but also a dominating 'fact of the matter' telling of what is, leaving the listener to experience a lack of resolve. A glimpse into the void that was created in that fateful moment." Beautiful work that pulls at the heartstrings, and creates a truly haunting atmosphere.

Kitt Sullivan and Jamie Benyon direct an artistic dance film for Anna Demetriou.Sharing an empty industrial space, we see Anna and two dancers perform in a high-contrast, black and white vignette.Coruscating lights and gentle camera movement create an ethereal, illusory feeling, that matches the introspective mood of the track.

A love story blossoms in the most unlikely of locations, in Fred Rowson's playful promo for Mae Muller. The video for I Just Came To Dance plays out like a Gucci shoot on a golf course, with a bit of The Virgin Suicides thrown in for good measure, and sees Mae attract the attention of a golfing guy with gorgeous looks but a flatlining personality.Mae can’t decide whether she wants to get with him or kill him. So, instead, she toys with him.Conceptually opposite to the lyrics of the track - you are definitely not meant to be busting moves in the middle of a golf course, but that doesn't stop Muller and friends - the video is imbued with director Fred Rowson's comedic, slightly surreal style, and it will keep viewers on their toes throughout.

Jak Payne directs a breathless promo for Rina Sawayama and her new single Frankenstein, bringing a modern-day relevance to the original story of a single character comprised of different bodies. Payne adds a psychological twist as well as a contemporary edge to the Frankenstein legend, with Sawayama navigating dimly lit halls at a party, before her 'monster' alter ego locks 'shy' Rina in the bathroom. Imbued with experimental fashion, and nods to influential 90s photographers such as Davide Sorrenti and Juergen Teller, as well as Gen Z touchstones Skins and Euphoria, the video is its own Frankenstein's monster of references, seamlessly blended together with contemporary flair.Payne wears his inspirations on his sleeve, but with an injection of his own style and vision, it becomes a heightened, stylish affair with just the right amount of fright for the spooky season.

Elton and Britney's reworking of Tiny Dancer gets the Joel Corry treatment, with a glossy video from Rebekah B Creative. "We knew the styling and choreography curated as a homage to Britney and Elton had to be the heart of the idea," says Rebekah. "We kept everything else fairly simple to let those elements speak the loudest."Shot in a studio with plenty of slick transitions and pulsating lighting, the video looks amazing, and matches the flurry of movement on-screen."The biggest struggle in videos like this - where the camera movement is almost choreographed with the routine - is the Steadicam op having an understanding of musicality. Luckily [Steadicam op] Marcus (Albertsen) grew up with dancers so it was an easy day."