Robert Fox directs up-and-coming disco icon Josh Caffé in a beautifully-realised visual for Do You Want To Take Me Home.Shot in and around iconic East London venue The Glory, Fox creates a thrilling atmosphere from a combination of close-up performance and him running through empty streets at night - wonderfully captured in DoP Peter Garajszki's cinematography.This builds tension around the brooding disco-house banger - which Fox occasionally diffuses with welcome touches of humour. "Josh Caffe has been a staple of London nightlife scene for years as a DJ, and gis soon-to-be-released album marks his debut as a solo artist and performer," explains Fox. "As the second single release from the album and the leading music video this song and visual spearheads his introduction."I've known Josh for years from the nightlife scene and we melded on this project to something out of pure love with team of family who are all very enthused to see Josh fly. We shot the video at The Glory, a prominent nightlife spot that the both of us frequent, thus creating a very familiar feeling for us both, both directing and for Josh to perform."

Roisino directs a moody, dance-based interpretation of the classic Satani occult film for Lowes.The video for Late Night Visions takes us on the narrative journey of the band's lead singer Evie, who wakes up in a disorientated setting, before happening across the remnants of an occult ritual."With a clear dystopian aesthetic referencing Wiccan and Druid influences; we explored these themes through the use of key symbolism of lines, the Lowe's logo and colour theory," explains Roisino. "As Evie encounters these symbols we flashback to Evie in a ritual setting surrounded by occult members and Lowe's members James and Luca, as the leaders."The ritual is portrayed with a twist on the classic Satanic style; incorporating these subjects as contemporary dancers with symbiotic group movements and expressive freestyles."With previous experience as a dancer, Roisino says it was exciting to create a video with such strong themes of flashback and ritual, in combination with evocative contemporary movements from talented dancers. "An aesthetic and stylised music video that feels like a movie, whilst making you invested in the emotive intention of the song is a true representation of my director's style."

Metronomy relive their teenage years in Juliet Casella and Thibaut Caesar's warmly nostalgic video for Things Will Be Fine. Band frontman Joseph Mount describes the video as “a sort of pseudo role-play therapy session in which we all re-visit our teenage selves.” And as such the five bandmembers each have their own well-observed vignette, recreating the byegone age of the late Nineties/early Noughties, reflecting on some of their childhood ambitions and dreams. So we see Metronomy revisit old social media platforms (on a first-gen iMac), first-time attempts at shaving, saving a guinea pig on the loose, and suffering from teen ennui - all unfolding within the same house. It's glued together by a band performance, which also has the feel of a teen band try-out, in the living room.With a concept that flows directly from the song's lyrics, the video delivers on bringing those themes to life in way that's pitch-perfect for the band. The art direction and set design are top-notch, as are the performances. It makes for a memorable, charming video - and confirms a fairly evident fact that Metronomy are a marvellous video band.But apparently, making this video did take its toll. Joseph Mount concludes: “Everyone ended up more scarred than they did before making it - apart from Michael [Lovett] and his fucking guinea pigs.” And that's that.

The mystery of Bigfoot might just have been cracked, in Daniel Liakh and Acid News' hilarious promo for Tock. The Patterson-Gimlin 'Bigfoot' film is one of the world’s most hotly-debated mysteries: is it proof that the infamous Bigfoot walks the paths of Northern California leaving really big footprints in its wake, or was it simply an old friend of Patterson’s who agreed to wear an elaborate costume for the sake of a hoax? Obviously, the answer lies in a beautifully-directed dance epic/conspiracy theory documentary which tells the tale of Bigfoot and Patterson falling hopelessly in love with each other. We follow Rodger and Bigfoot on their whirlwind romance, the two dancing together, sharing a boozy picnic, and creating beautiful moments everyone can recognize from their very own dating years - all captured in a delicate, almost nostalgic way.Liakh's talent at interweaving performance setups with mockumentary-style interview footage helps seamlessly blend the whole project together, whilst the inspired performances lend an air of authenticity to the mind-boggling narrative. Whatever may have happened on that fateful day in 1967, Lovesong perfectly encapsulates the feelings of young love - and proves that Bigfoot may just have a penchant for house music.

Hak Baker faces up to addiction, in Jon E Price's reflective promo for Irrelevant Elephant. The party is over, and Baker is shown hanging around his flat, seriously hungover and drowning in apathy, as an animated elephant begins to invade each frame. Starting off as a carefree, colourful character, the elephant - who appears when Hak thinks about taking to the booze again - soon distorts into an unwelcome and menacing presence.As his addictions take hold, the artist has to find the inner strength to take back control.

Chris Chuky directs a breezy dance-focussed promo for Shaybo, featuring Haile. The video takes place in a contemporary apartment, adorned with luscious plants and fresh art direction, and a palpable energy in the air. Switching between low-key performance vibes and a small house party, the artists thrive in the concept, and the glossy cinematography rounds off the chilled aesthetic.

Jack Lilley explores repression and freedom, in the offbeat promo for MarthaGunn's Holding The Fire.Tinged with a sense of eerie foreboding. the video tells the story of a woman stuck in a 70s cult whose worship revolves around completing mindless repetitive tasks. She slowly becomes aware that she wants out, and we see her plan her escape and the fallout of her absence. Anchored by excellent performances from each member of the band, the concept is pitch-perfect, blending humour, elevated horror and nostalgic naivety.

Luke Lovekin experiences every stage of grief in one evening, in Graham Michael Roberts's film noir-inspired promo for I Like It When You're Mean. Saying goodbye to a fizzled-out relationship, the artist is shown stalking an empty flat, as he drinks, smokes and bounces from room to room. And smokes some more. The confident, sexually-charged performance blends perfectly with the gritty textures of the cinematography, creating a sense of allure and mystery, wrapped up in the enigma that is Lovekin. A marvelous introduction to the artist, well-executed and engaging throughout.