William Glass directs a mesmerising promo for London band Gentle Stranger's Dragonfly.The video presents a series of captivating slow-mo portraits of the band, complete with glitter, cascading playing cards and an overall aura of youthful magic. The abstract nature of the concept is the star of the show here, rejecting any sense of narrative or sense of place, to instead capture the transient nature of a moment in time. "I wanted to make something simple and enchanting," says Glass. "The visuals came from thinking about the clunky and child-like magic of school plays and village halls."The song has a beautiful economy of elements, so I wanted the video to be stripped back to the essentials too; a series of shimmering slow-motion portraits of both the band and their instruments."

Anne-Marie finds good reason to suspect that Aitch is up to no good, in Samuel Douek's entertaining video for Psycho.Douek creates a boisterously colourful, almost cartoonish series of environments in which Anne-Marie can wreak havoc upon Aitch's attempts at serial cheating. The director's approach gels nicely with the light-hearted tone of the collaboration between two of the UK's biggest pop stars.And he gets sterling support from the production design by Tilda Bonham Carter, styling by Cora Delaney and Justin Rose, and the casting of Aitch's numerous other girlfriends."The idea of the video was to empower anyone who has been in Anne-Marie’s position before," says Douek. "It was no mean feat to pull off, shooting eight scenes in one day - including moving the entire production from one location to another."I'm really proud of what we managed to pull off and I hope the viewer has as much fun watching it as we did making it."

A young woman leaves the big city to head to back home, in Bill Bleakley's tender promo for Ocean Alley.Backdropped by a stunning desert landscape, we see the main character sprinting towards camera, her business-casual attire ruffled and unkempt. This is a spur of the moment decision that is playing out like a true adventure. After hitchiking and connecting with a love interest along the way, the character finishes the journey alone, ending with a shot of her embracing her parents.It's a simple yet beautiful concept, with a real, classic road-trip vibe. The breathtaking locations act as another character completely, lending the visual a rough and ready edge that matches the protatgonist's spontaneous travels."The band gave me a lot of freedom in coming up with a concept for this one," says Bleakley. "We thought it would be cool to follow a protagonist leaving the city and heading home."To make it feel epic we wanted to cover as much ground as possible in the space of a few days. Hence we drove from Melbourne to Broken Hill and shot along the way."

Billy Lockett has zombies on the brain, in Kris R's cracking promo for Freaking Out. Paying homage to an iconic Shaun of the Dead scene, we see Lockett head out to the shops, stalked by a set of zombies who may or may not turn undead after encountering the artist. The image of a straight to camera performance backdropped by undead extras is hilarious and captivating, and Kris imbues the concept with enigmatic nuggets of information, which allow viewers to make up their own mind about a few key details. "Zombies were a key part of the brief I received for the track, but I wanted to dig a bit deeper into what including the 'walking dead' in this context would suggest about Billy himself," says Kris. "With that, I decided that the characters - who morph from ordinary passersby into white-eyed monsters - would personify his darkest inner thoughts, following him wherever he goes. As Billy finally turns to confront his demons they disappear, forcing us to ask the question: 'Were they ever really there, or was it all in his head?'"When thinking about structure, I immediately thought of that scene in Shaun of the Dead when Shaun walks to the shop, failing to realise the state of everyone that he passes. I think most people my age are familiar with that scene, so it was really fun to drop in Easter eggs throughout."

Jim Hosking delviers a deliciously daft, and ultimately joyous expression of female bonding for Warpaint's Hips.This has a quality of offbeat humour all of its own, based around the superb casting of this video and a terrific use of a classic English seaside location. Great stuff. “Hips has a scuttling intensity to it, it sounds like someone desperately trying to find something - or at least that’s what it seemed to me," explains Hosking. "I listened to it repeatedly and kept seeing women searching for each other in a seaside town. Ideas present themselves and it’s not about logic or reason, it’s about emotion. And here the emotion suggested identically dressed women finding each other in the English town of Southend-On-Sea.““The track seemed to have its own secret language and I wanted the women in the video to seem to have their own secret language too.”

Sina Dolati directs an experimental music video collaboration with Iranian-Canadian hiphop artist Säye Skye.Shot in Toronto, the video celebrates Attention Deficit Hyperactivity Disorder as a superpower through a combined lens of comedy and out of this world sci-fi imagery.Filmed on a 360/VR camera, the video was later converted into a standard 2D visual, allowing the creative team to simulate different movement and perspectives.Making reference to 20th century American science fiction and post-revolution Iranian cartoons - amongst other aesthetics - the experience takes viewers on a surreal journey through time and space, with a hypnotic, frenetic and intense journey. "We aimed to create an experience that allows both Farsi and non-Farsi speaking audiences to connect with and feel the themes of the music," says Dolati.

Ali Gill directs a twisted comedy for InTechnicolour, drawn from the parable of The Scorpion & The Frog . The video for The Wave is a human adaptation of the said parable, and follows a parasitic teenager who persuades a stranger to carry him to his destination - and the subsequent events that unfold between them that day.Brilliantly weird and offbeat, it's a video that lingers after watching it, and owes a huge amount to the creative concept and the top-notch performances."It was important for the video to have this uncanny, deadpan tone," says Gill. "A lot of this came from the performance: we experimented a lot before shooting on what might be the most abnormal - and almost disturbing - method of carrying another human, which is present in most of the shots of the video."I wanted to capture the oddity of the actors in quite a composed and dispassionate manner - the video comprising largely of static wides. We were often shooting from afar on long lenses, with the actors performing amongst the public. Perhaps characteristic of South London, the sight of a man being dragged across the pavement caused no one to bat an eye. I love that."

Felix Brady returns to the world of music videos with a groundbreaking tour de force of action and VFX for Greentea Peng.The video for Look To Him is an exploration of originality, creativity, and shaping your own reality, as the promo takes audiences on a journey that defies what we would consider possible - even in the world of movie-making.As Aria Wells, aka Greentea Peng, performs Look To Him and acts as the omniscient narrator from afar, an action sequence unfolds upon the roof of a speeding car between two men - part-fight, part-dance - with the camera as an integral participant to the action, constantly circling the performers. The spectacular action sequences were achieved by an innovative application of technology by Felix Brady - who's last foray into music video was the brilliant Greentea Peng video for Hu-Man in 2020. Since then, he has been honing his filmmaking craft making commercials, and it shows.To achieve a 360 degree shot of choreography atop of a moving car on a limited budget required a highly ambitious technical approach that had not been done before - involving precise 3D mapping, cars on rotating turntables, custom algorithms, and virtual environments supplied by the gaming giant EPIC Games.Brady's ingenious solution was to 'create' an orbiting camera move by spinning the vehicle on a platform inside an LED volume - on the largest LED stage in Europe, in Latvia. Virtual backgrounds, supplied by EPIC Games, originally created for the videogame The Matrix Awakens, were then synced to match the car’s rotation.In fact, Brady utilized a never-done-before filming technique involving precise 3D mapping and bespoke algorithms to offset in-camera tilt, jib, and pan, to track with the animated backgrounds. The result is a dizzying, dazzling display, where fantasy blockbuster action meets a playfulness inspired by the music of Greentea Peng.“I felt equally as passionate about the creative and the song as I did with the technical aspects," says Brady. "The video is really all about source energy and believing you can tap into it at any time and so you don't need to look to others for that.“The car is the vessel for this idea. It’s the analogy for life being relentless and ever moving, it’s this foundational thing we can’t jump off. The characters atop the car are representative of the flamboyant side and the serious side, the transience of life and all its intertwined conflicts."Felix adds, “I couldn't be happier with the outcome. Especially considering the budget we had to work with. I’m now incredibly passionate about pushing the limits of LED volumes. It’s the playground of the future.”