Following the fierce polemic of The Recap, Finn Keenan reunites with Kneecap for their collaboration with Orbital's Paul Hartnoll - and presents the brilliant Jamie-Lee O'Donnell as the office drone unable to get raving out of her head.With the usual intensity of Kneecap ramped up even further by Hartnoll's beats, in the Sayōnara video Jamie-Lee is disturbed from her office duties by visions of uninhibited nights in clubland - episodes that are increasingly blurring into reality. She's just about keeping it together - even as she starts seeing her suspicious work colleagues in fetishwear.Until it all kicks off: suddenly Jamie-Lee is driving around Belfast in the Kneecap-pimped Land Rover, and finally streams of light from her eyes and mouth - surely a reference to the iconic Kneecap balaclava. This off-the wall comic narrative really works with the track, Jamie-Lee O'Donnell is great, and as with all things Kneecap, the comedy of the raver's existence comes with some serious intent. "The intensity and ominous tone of Sayōnara reminded me of both the best nights out and the brutal days that followed - that’s what sparked the idea," says Finn Keenan. "But I wanted to turn a typical dance video on its head and focus on the aftermath and how the chemicals in your body change as the week progresses. I wanted to capture the visceral intensity of paranoia and intrusive thoughts. Somehow, that 'never again' anxiety of Monday slowly shifts by Friday into a 'Weekend is here. Monday will never happen again!' optimism.Keenan adds that he and the band also wanted to nod to Belfast’s rave history. "In the 90s, raves weren’t just parties, they were acts of resistance, dangerous but vital spaces where Catholics and Protestants came to be together and dance," he explains. "That spirit is what fuels the scene of Jamie Lee driving the pimped-up Kneecap Land Rover across the city - a kind of rave pied piper, spreading the idea that art, music, and creativity can break down the metaphorical walls which are often stronger than the physical ones. Pent-up anger and frustration are released through dance instead of turning into hate."Which is what the ludicrous end of the video is about. I wanted this end scene to be feral! Working with Jamie Lee made this possible. She’s one of the most open, vulnerable and fun people i’ve ever met. Working with her was incredible."We didn't have a choreographer so for the end dance we’d have a chat before each take and then she channeled her own stories and emotions into the performances, each one completely different than the last and each one genuinely left the crew speechless. It was an incredible thing to witness. She’s a powerhouse!"Massive thanks to RiffRaff for their support and to all the incredible cast and crew who created such a lovely vibe on set that meant everyone was comfortable doing some of the most bizarre stuff i’ve had to ask people to do on camera. And of course thank you once again to Kneecap for trusting me with this absolute pile of weird!"

James Ogram captures the isolated world of an old man and his television in this surreal and comic promo for rave-rock duo Hex Girlfriend.In the video for Trash TV, we are introduced to an old man as he flicks on the telly in an eerie, darkened sitting room. Immediately, he's transfixed the world of teleshopping. Noah and James of Hex Girlfriend are perma-tanned salesmen trying to flog him their wares, whatever it takes. And he becomes literally absorbed into the teleshopping studio.With striking production design from Anouska Sokolow, including an appropriately dingily-lit living room lensed by Mike Pain, James Ogram creates a nightmarish allegory.Finally, the old man tries to break free of his immersion into the screen - but its not so easy. The advertisers always win.

Anthony Dickenson's video for electronic musician Rival Consoles is a months-in-the-making marvel, a personal experiment that has evolved into a large-scale installation, a blurring of the lines between moving image and fine art.The film to accompany Soft Gradient Beckons is a frame-by-frame animation of Dickenson's hand-painted monoprints. It's a meditative, analogue response to an electronic composition which resulted from the director's diligent repetition of the creative act of painting - and a total of over 5000 frames painted. Each frame was transferred onto tracing paper, building a rhythmic visual language that mirrors the emotional shifts in the track. The film’s quiet pulse and slow unfolding invite the viewer into a space where rhythm, decay, and memory take on physical form.Ultimately as the film shows, it results in 11 painted rolls, each 20 metres long, laid out in sequence to reveal the full timeline of the piece. “The process became its own kind of ritual," says Anthony Dickenson. "Painting each frame by hand over months gave me space to reflect. The piece grew out of a changing period in my life, and somehow it absorbed that energy. It became less about animation, and more about presence.”

Swedish directing team Swim Club create a visually striking fashion show-cum-art installation to showcase the statuesque Agnes. The video for Balenciaga Covered Eyes channels the song title and theme into a beautifully-crafted fusion of fashion editorial and controlled minimalism, with bespoke wardrobe and choreography shaping the tension between glamour and vulnerability.In a vision of yellow against blue, Agnes models, parades and performs on an abstract catwalk to an audience of identikit fashionistas. Mesmerising stuff.