Sacha Barbin has directed a superbly dynamic performance video for the brilliant Afropunk band Tshegue, shot on the streets of Paris.Barbin's camera repetitively tracks and zooms out, as Tshegue lead singer Faty Sy Savanet walks down the street and performs - at first the background changing all the time, then Faty's wardrobe...The video rarely breaks from the rightward-tracking move, but Barbin continually adds new elements, characters and VFX tricks to reflect the vibrancy of M'Benga Bila - and Paris itself.

Natalie Neal brings a dreamy quality to her video for Thayer Sarrano's shoegaze-influenced The Eternal, placing the singer-songwriter within landscapes and then manipulated with in-camera effects, via prisms and different formats, to great effect. Sarrano says: “I'm glad that in [the] video, I get to be a soundtrack to a natural world that is also supernatural, with prism lighting and colored landscapes, because it feels like the place where it came from – that place of eternal/love.”Composed in the wake of a close friend’s passing, Sarrano has said the song is about “how we are all eternal beings, so we don’t die,” and “It was healing to me to think about time not being linear and the idea that music is this transcendent thing beyond the body that makes it."

Slick Don gets back together with Broken Antenna for Dat Boi, and the result is a super-inventive and energetic video which elevates Don's performance through some slick, but mostly lo-fi, visual effects. Gustav and Myles (aka Broken Antenna) mix analogue collage - consisting of 2386 stills printed hand cut out and scanned back in - with phrenetic in-camera match cutting techniques."To add an extra element of DIY aesthetic we then added extra elements of hand drawn crayon and scanned in some diagrams and labels that we had used in the making of the video," explain Broken Antenna. It's an added post-modernist touch that's going to make this video quite freeze-frameable for camera nerds.

Col3trane ponders the shifting and unpredictable sands of time in Oscar Hudson's hallucinatory double video for the teenage R&B singer/rapper's Fear & Loathing and Britney.Taking Hunter S Thompson's gonzo classic, referred to in the title of the first track, as his jumping off point, Oscar Hudson and his regular cameraman collaborator Ruben Woodin-Deschamps employ some imaginative in-camera techniques for each song, and create a work that tackles the big subjects: life, death, drugs and flowers. First of all, Col3trane finds himself in the desert, his mental state altered courtesy of interesting combinations of camera zooming and pixellation. Then he's joined by a companion, a Thompson-like figure, transported to the desert after dropping acid, via his bowl of soup. Rather too much acid, as it leads to a decline and demise that Hudson turns into a black comedy of timelapse. And then things start to move back to the beginning... “I always wanted to make a double video for Fear & Loathing and Britney," says Col3trane. "The acid reference is an obvious nod to Hunter S Thompson but it was Oscar’s idea for me and the other guy to turn up in each other’s trips. Oscar is an amazing talent to work with. The song is about being stuck in a loop that you can’t get out of, and he really brought that to life with the visual.”

Django Django are back, with Tic Tac Toe, and a new video by regular collaborator John Maclean - borther of the bands's drummer and producer David.In it, Vincent Neff leaves the band's caravan to have a cool, speeded-up English seaside adventure (it was shot in Hastings): a quick successful pool game, fish & chips, a trippy trip on the Ghost Train.Some of the team involved in Maclean's first feature Slow West were involved in making this - including DoP Robbie Ryan who shot the video on 16mm, sped up in-camera. The result is classic Django Django, employing lo-fi VFX tricky, consistently entertaining and unpretentious."The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness," says John Maclean. "But it is actually about a man who needs to go buy a pint of milk to make a cup of tea."

Starting with a landscape shot on a thermal imaging camera, directing team Broken Antenna add elements that make it completely alien, all relating to the title of Toddla T's new track.Whether it's jagged whirlpools emerging from the black lake, or crystal structures suddenly forming above the hills, these are all real phenomena created by magnets - some of which come with the release of Magnets, Toddla T's track featuring Andrea Martin. Everything was captured in-camera, and the effects are a mixture of ferrofluid, iron fillings and printer toner distorted by magnetic force."We wanted everything in the video to be organic elements comped together rather than using 3D, to make it true to the release itself," say Broken Antenna.

LAMAR+NIK return to music videos for this playfully inventive clip for American indie-pop band Deep Sea Diver's See These Eyes, which sees frontwoman (and former Shins guitarist) Jessica Dobson leading a succession of mostly in-camera FX sequences, from its datamoshing opening to T-shirt colour changes to rotating camera moves, to an mysterious cameo by rocker Dave Matthews - wearing a 'Cameo' T-shirt.So why is the really quite famous Dave Matthews in the video? The directors says there is no real explanation, other than it became possible, so they did it. "He goes to a coffee shop where one of the bandmates works, and they just asked him if he'd be in the video. He said yes. He's a really cool and humble guy. We just thought it was really random and funny!"

Darwin Deez has maintained his excellent reptuation for making creative music videos by collaborating with Oscar Hudson for The Mess She Made, involving a clever visual treat - and lots of international currency. The eye-catching clip plays on the camera perspective and places Darwin into various banknotes, matching his face to numerous historic figures, some you actually may have heard of - and all achieved in-camera. The whole idea sprang from Oscar Hudson's mind a few years ago, while on holiday in Morocco - as he explains below.It doesn't have much connection with the songs lyrics. But as Darwin Deez told The Wall Street Journal (and we never thought we would writing that sentence): “I don’t think it matters,” he says. “Most people watch 30 seconds of something and then they flip to something else. It was more like we had an opportunity to do this, and it seemed really cool.”