Singer-songwriter, producer and director Wesley Joseph returns with a comeback single and accompanying visual that adds a sleek intensity to the craft and surreal invention that has marked his work to date.Shadowy, concrete club spaces and mirrored rooms twist and warp as Wesley encounters a striking female amid a group of pole dancers in the video for If Time Could Talk. And it builds to an impressive, fiery climax.Filmed in Paris, and produced by Stink France (with help from film fund CNC), Joseph's video for If Time Could Talk is riveting in terms of the imagery he creates and the feeling it evokes - which is something he certainly intended to achieve, from hearing how he describes the track."It started as a much faster dance instrumental but one night, weeks after the session, I slowed it down and found all this space in the music where the feeling and texture became clear - electric, nostalgic, twisted, and aching all at once,” he explains."Ultimately the song is about the pull of a lost connection, desire, regret and romanticising the past - some of the songs I write have a really specific story and others are a feeling dramatised into a scene and If Time Could Talk feels more like that - emotional honesty, immediacy and melancholy all wrapped into an elated escape.”

Saul Abraham puts the words of Truman - the musical alter-ego of actor Charley Palmer Rothwell - into the mouths of boys as they are having their school photo taken. It's a thought-provoking take on the path of masculinity for Tell Him, a song about a man struggling to leave his younger, blokeish self behind. "The song is all the words that sad adult men choke on, the deeper voice of their gut as they sink pints and sink into their assigned seats at the bar," says Truman. "The video shows an early moment in time when men are learning to mask, dressing up in a false self.”It's another strong concept from the artist who won Best Performance in a Video at the 2023 UKMVAs for the jawdropping Charley Boy. In fact, there's almost an uncanny aspect in the performances of the young cast, where you really do sense the men these boys are going to become.Then Truman himself takes his place in front of the portrait photographer's camera - with his grandmother. "It was lovely to team up and collaborate with Charley (Truman) to contribute a film for what I think is a remarkable piece of music," says Saul Abraham. "To me, the song is restrained, powerful and arresting so I wanted to create a central image that honoured that - allowing us a new entry point into Truman’s words rather than ever detracting or diluting."Everything that is good about this video is down to the incredible team, particularly HODs Keri Rothwell Douglas (producer), David Foulkes (cinematographer), Katie McGoldrick (stylist) and Heather Basten (casting director). Finally a special shout out to the ridiculously talented young actors, their families and Truman’s nan Patricia!"

Rag’n’Bone Man sets off on a quest to find love - on his push-bike - in the charming and quirky video by directing duo Broken Antenna, collaborating with fellow director Tim Nathan.The video for Time To Love - the British soul singer's first collaboration with acclaimed producer Danger Mouse - follows a time-honoured narrative form - arguably the oldest of them all. Rag'n'Bone Man (aka Rory Graham) pursues his personal Iliad, where he enjoys a series of adventures, encountering a range of eccentric characters in the process. Rory takes his cue from a Tarot-reading mystic, before he sets off on his bike, following a path set out by hand-drawn map through the sun-kissed flatlands of Kent's Romney Marshes, where he meets hitchhikers, fire dancers and night fisherman - and may have found a friend. Throughout Rag'n'Bone Man cuts through with arguably his most relatable performance yet in a video. He's thoughtful, inquisitive, more soulful than ever. And it comes with a sense of humour that's exemplified by his humble and functional mode of transport, the bicycle. That encourages his fruitful interaction with the rest of the world. It's the second time that Broken Antenna have worked with Rory, following his featured role on Jam Baxter's Mask - a Chinese restaurant-set gross-out comedy. This is altogether gentler, an encouraging sign of what's to come from the artist, and a demonstration of the virtues of directors teaming up to pool their ideas. That's what happened here, as Myles and Gustav of Broken Antenna explain:“We enjoy the collaborative process of working with other directors, as it's always fascinating to see the way that they work and how they engage with the ideas and production in a different way," they say. "We are good mates with Tim and he brought up the idea of collaborating on this job with Rory, as we'd worked with him before and we thought that it would be really interesting. "We all came up with the ideas together on what was a really fast-moving production. We teamed up with DoP Thom Neal, through whom we know Tim and producer Josh Hillman who we worked with on our previous video for Rory. It had a proper collective spirit. [We] Supported one another and split the video into different scenes which we developed individually and brought our ideas back to the group and reworked them together."It was great to work again with Rory and his team and hopefully we will all be doing more together again soon.”

Directing duo rubberband. bring their signature dreamlike aesthetic into a surprising new environment, allied to an intriguing use of technology for Fred Again..'s collab with KETTAMA and Shady Nasty. The video for Hardstyle 2 has a deceptively simple concept - capturing the crowd of a show in gritty slow-mo, focusing on the group as a whole, as well as the individual characters within it. Executed in an absorbing way, the video captures the emotional rollercoaster of live music, dropping viewers into the eye of the storm amongst coruscating strobes, sweaty bodies and cathartic release. What begins as an intimate close-up gradually expands, as the camera pulls back to reveal the scale and pulse of the underground music community in motion. With authentic energy, high-contrast visuals, and hypnotic slow motion, the video highlights the beauty within the chaos.The result is a video blurring the line between performance, movement, and emotion — a testament to rubberband.’s singular vision and Fred Again..’s artistry - and dedication to defying expectations.The directing duo, Jason Sondock and Simon Davis, explain that the video resulted from a long period of consultation with Fred Again.. and his creative director Lucy Hickling (aka LOOSE)."How does the first time being overwhelming by fear and excitement play out? What’s the simplest visual way to express this at scale, without it feeling polished? Without leaving the humanity of experience? While given the opportunity to sit with and feel that experience."These were the first and primary questions Fred and Lucy asked when they approached us to work with them. They also wanted to preserve the sentiment of Fred’s black and white, nearly DIY aesthetic. They both would often ask a simple question of us: 'why is the camera where it is? From who or what's perspective are we observing this?' (Needless to say, working with them was a true pleasure; incredible, beautiful humans always asking the right questions of not only us, but also of themselves)."As a result of a few months of discussions, we aligned on a simple concept and decided the best way to observe this story was to combine tech that’s 60 years old with technique that’s contemporary, all in service of this. Wanting to preserve the human perspective of a single take film."Each 'oner' take we did was only 15 seconds long. Process and technique had to be congruent with emotion, with aesthetics only serving the narrative and scale. Thus, this video was done as for real as possible, in a single take on 16mm at 500fps. This video, In its final form, was take 4 of 7."