Enter Shikari frontman Rou Reynolds makes his video directing debut with this powerful one-take promo for the band's new single, (pls) set me on fire. The video sees the band perform in an effervescent setup towards the back of an industrial location, whilst a vintage TV displays retro graphics and animated lyrics from the track on screen in the foreground. It's a simple yet strikingly effective idea, that showcases the band at their best, and uses clever composition and lighting to keep eyes darting between the two positions on-screen, in a captivating ping-pong match for viewers' attention.So a lyric video for the track may not be required. But with Reynolds breaking out of the performance near the end, to write in a notebook and then wander distractedly off-screen, suggests there is still more to come. Indeed, that is confirmed by Reynolds himself."I wanted this video - my first foray into directing! - to feel minimal and uncomplicated, but at the same time full of dynamism, and therefore the polar opposite of the next video, which is a bewildering romp through surrealism," he says."So there’s a simplicity here, a willingness to let the raw energy of the performance be the focus, untainted by effects or complex editing. But it should also be mentioned that the main function of this video is really just to set up the next one…"

As with their breakthough hit, the sensational Chaise Longue, Wet Leg lead singer Rhian Teasdale brings us back to an alternative Americana for the video for Wet Dream.Following on from the white dresses and sunhat look of that previous video, Teasdale and bandmate opt this time for a distinctly Amish look - offset with giant lobster claws.This provides the cue for pillow fights in fields and surreal lobster feasts, set under wide blue skies. And like Chaise Longue, this was again filmed in that hotbed of indie rock, the Isle of Wight.

Jade Deshayes' lovely video for Moroccan singer-songwriter Meryem Aboulouafa is an impressionistic retelling of an age-old myth that takes the songtitle, Breath Of Roma, as its inspiration.Deshayes' recreates the tale of Romulus and Remus, legendary founders of Rome, as a human drama - two brothers who are closely bonded by the sudden disappearance of their mother (a wolf), are entirely dependent on each other until they are driven apart by the appearance of a mysterious woman, played by Aboulouafa.The director's faithful treatment of the story is intimate, featuring performances from the actors that are bursting with physicality. Aboulouafa, in Arabic dress and entirely in black, makes a striking impression too. And as the story is so timeless and powerful, for an excellent song, this stands up to repeated viewing.

Harjinder Grewal has directed a reflective and poignant video for I Don't Want To Know, by Yeah But No. Shot for the first release of the duo's new album Demons the visual is meditative and a reflection on how we navigate our way with technology - and how it could lead to our extinction.

Skip Marley preaches a gospel of resilience at the high church of “Lazerism”, in Irrum's spirited video for Can't Take It From Me - in which we see the return of Major Lazer’s fictional namesake.Lazer, the band's one-armed Jamaican superhero, was once their avatar. But since his heyday fighting crime on his own cartoon on Adult Swim, the iconic vigilante has only made a handful of appearances. Now (according to Irrum) Lazer has become a tropical deity. His worshippers follow his comic book as creed, and Skip Marley as his high priest.The video was inspired by the earthy mysticism Cuban artist Alberto del Poz, whose paintings depict the Afro Cuban religion of Santería. The artist’s influence can also be felt in the video’s distinctive, textural visual style, produced here by excellent wardrobe and production design. As usual for him, Irrum has graded his own video, and the lovely, paper-like quality is typical of his work.Meanwhile, Andres Arochi’s photography is on riotous form. His camera is in constant motion, and he depicts culture in flux with a flourish of camera techniques. Including the infamously tricky dolly zoom.

Starting with a range of beautifully colour-coded and symmetrically-arranged dinners, its obvious that the art direction here is going to be good. But its true purpose is soon revealed.Daniel Fletcher's first video is a study in OCD bordering on full madness, carefully calibrated to reflect the relentless psychological probing at the heart of Alev Lenz's Eggshell. It looks nice, but this is dark stuff.